Women's Fashion in London in the 1920s
Women's style inverse so significantly in the 1920s considering of the social and political changes that occured in this exuberant decade.
Social Life and the Arts
After the horrors of the First World State of war, when thousands of young men died fighting in the trenches, there was a general relaxation of social rules. What followed was a decade of parties, typified by the new trip the light fantastic crazes, such every bit the Charleston, and a growing interest in jazz music. The arts flourished with Modernism and, subsequently the Exhibition of Decorative Arts in Paris in 1925, the Art Deco movement. Literature included novels such asThe Bully Gatsby by the American F. Scott Fitzgerald, works from the Bloomsbury group, including Virginia Woolf, plays past Noel Coward, or verse by T. S. Eliot, includingThe Waste product State (1922). In Hollywood the moving-picture show manufacture connected its steady growth, with influential starlets such as Louise Brooks, and in 1927 the introduction of the 'Talkies'.
Political and Economical Upheaval
However, the decade also saw much political, economical and social upheaval. Women's emancipation continued on from the Suffrage Movement of the previous decade. In 1919 women over the age of 30 were granted the correct to vote. However, it was not until 1928 that women were granted equal voting rights as men allowing them to vote at 21. At that place was growing industrialisation, and major investments were fabricated on the stock exchanges. Meanwhile, poorer sections of British lodge were hit economically and discontent was expressed by the General Strike of 1926. Finally, the bubble of the Jazz Historic period of the 1920s finally flare-up on 24 October 1929 when the New York Stock Commutation crashed. The Wall Street Crash led into a menstruation of financial hard times known as the Great Depression.
Fashion
In the immediate mail service-war period the lost youth of Europe were replaced by androgynous looking women who emulated and aspired to the slim, straight figure of an immature boy. This aesthetic replaced the maternal, feminine, hour-glass figure of the Edwardian historic period and earlier Gibson Girl. Constricting corsets were gradually replaced by lighter foundation garments, such as brassieres, first invented in 1914, and girdles. Mankind coloured silk stockings came into fashion, manufactured with back seams, although cotton fiber lisle stockings were popular for more everyday utilise and sports.
Many women cropped their hair into a brusque bob, trimmed at the dorsum with shingling-clippers. The look was dubbedgarçonne, pregnant 'boyish' in French. Often the bob was styled using the 'Marcel Wave'; a method of waving the hair along natural lines using a pair of tongs, offset invented by Marcel Grateau in 1872. The new smart, brusque hairstyles suited a new fashion of hat introduced in 1923 known as a cloche. These hats had deep, close-fitting crowns and no brim.
The expect for the 'bright young things' was thoroughly modern, with clean lines and a experience of ease and condolement in the clothing they wore. Eligible ladies were presented at courtroom Drawing Rooms, afterwards appearing in stylish London society and were photographed wearing the latest designs from London and Parisian designers for the pages of Faddy and other, increasingly more numerous, varieties of women's magazines. However, it was still possible to see older or less flush women dressed in Edwardian clothing.
1929, CT004010
Designers, Dressmakers and Section Stores
Gabrielle Chanel, known as 'Coco' to her friends, opened her couture house in 1919 and was one of the leading designers of the 1920s. She was famous for her easy-to-wearable knitted garments, including sweaters and twin-gear up ensembles. Her clothing combined luxury with simplicity and was oftentimes teamed with stunning pieces of corrective jewellery. On v May 1921 she launched her first perfume, Chanel No.v. Other influential designers working during the 1920s included Poiret, Jeanne Lanvin, Vionnet, Schiaparelli, Edward Molyneux and Norman Hartnell, who opened his couture house in 1923.
As the number of designers who produced couture lines increased, so did the number of section stores who offered ready-to-habiliment trickle-down copies of the most up-to-date designs for the masses. With women's emancipation, gradually more and more young women were going out to work, and thereby increasing the amount of money they had to spend on the latest fashions. Meanwhile, there notwithstanding continued to be a big percentage of clothing made at home or by local dressmakers. In response to this market, a growing number of women's magazines offered patterns and advice on making women's and children's clothing for the home dressmaker.
Trends
Skirts
The first of the decade saw ankle length skirts and dresses, with a slightly dropped waistline. Lanvin, in item, specialised in producing dresses with slightly flared or tiered skirts, with additional width over the hips. Yet, equally the decade progressed, the line became more tubular with the skirt becoming increasingly cut in a straight line with the bodice. Skirts were at their shortest c.1925-1926, coming to just below the articulatio genus. Towards the finish of the decade the look became more feminine, hemlines became longer, first unevenly with handkerchief skirts or cut longer at the dorsum than the front. By 1929 ankle length skirts were dorsum in fashion.
Egyptmania
The 1922 discovery of Rex Tutankhamen's tomb in the Valley of the Tombs of the Kings in southern Arab republic of egypt led to a period of Egyptmania, with Egyptian inspired motifs and hieroglyphics actualization on a variety of decorative art objects as well equally clothing
Cosmetics
Also in this decade the utilise of cosmetics became increasingly popular. Both Elizabeth Arden and Helena Rubenstein had begun experimenting with new facial creams and a new variety of more peel friendly products began to emerge on the market place. The fashion was for doll-like faces with stake faces, plucked eye brows, rouged cheeks, and red lips with the pigment applied to the cardinal lip and Cupid's bow to produce a "bee-stung" silhouette.
This blog mail was originally published on the Royal Pavilion and Museum'due south website.
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