Amy T Peterson, Valerie Hewitt, Heather Vaughan, et al
Page 29
the conservatives in the city. When she
she attempted three times before admit-
visited a public beach, she was arrested
ting defeat. Within two years, she
for indecency for wearing her trademark
would be the center of the American de-
suit. The arrest generated significant
cency debate. Kellerman took up swim-
publicity and helped relax laws regard-
ming when she was 6 as a way to
ing women’s swimwear. Within the next
strengthen her weak legs. By 1902, she
few years, athletic tank styles became
won championships in women’s one hun-
common for women, and the style
dred yard and mile swims, and the follow-
became known as ‘ The Annette Keller-
ing year she began performing swimming
man.’’ She also promoted her own line
and diving exhibitions in a vaudeville act.
of women’s swimwear.
While touring with the vaudeville
Kellerman continued swimming and
act in the United States, she caused sig-
promoting physical activity for women.
nificant controversy because of her
She authored books including How to
form-fitting one-piece bathing suit. Her
Swim (1918) and Physical Beauty: How
athleticism required a less cumbersome
to Keep it (1919). She appeared in
garment than the voluminous swim
numerous films performing a variety of
dresses typically worn at the time. Dur-
swimming and diving stunts. Many
ing her attempts to cross the English
times she played a mermaid and devel-
Channel, she made her own suit by
oped her own mermaid costumes that
modifying a boy’s knit tank suit with
were comfortable for swimming. She
dark stockings sewn to the legs. Many
lectured widely in the United States,
Americans found this body-hugging
talking about health and fitness.
Tennis
Tennis costumes consisted of a simple shirtwaist and skirt made of cotton
flannel. Decoration was kept to a minimum, the sleeves were close fitting
but roomy, and the skirt hem was a few inches off the floor. A low flat
cap completed the ensemble.
Other Activewear
Because motoring was a dusty, dirty amusement, it required a special out-
fit. A long, loose-fitting duster would be worn to protect the motorist’s
clothing. Typically, the duster was made of cotton, linen, or silk, and its
178
WOMEN’S FASHIONS
tan color hid the dust that would cover it after a day of motoring. Women
would wear large hats and veils over their faces. Green was a popular
color for the veils. Low, flat caps were another popular form of headwear
for this sport. Gloves were worn also.
Bicycling was another common sport at the turn of the century. Bicycling
costumes featured a skirt that was split to accommodate the bicycle. Its hem
came a few inches below the knee to facilitate pedaling and to avoid the
bicycle’s chain. Women wore high-buttoned boots with this type of outfit.
Sometimes women would wear veils over simple hats while they bicycled.
Both men and women went hunting together. Women would wear a
tweed suit that had a hem that was three to four inches from the ground.
The suit had a fitted jacket and few embellishments. Women often wore
a low, flat cap with the outfit.
When horseback riding, women would wear split skirts and masculine-
style riding jackets with a simple shirtwaist. A derby hat and gloves would
complete the outfit.
UNDERWEAR AND INTIMATE APPAREL
Undergarments
Undergarments were complicated during this era. The first layer consisted
of a set of drawers and a chemise or a combination, which was a combina-
tion of the two. These were often decorated with frilly lace, and ribbon
woven between eyelets was frequently used.
The next layer included the corset and sometimes the bust bodice.
The corset was well boned and nipped in the waist. Some corsets sup-
ported the bust, whereas others ended before the bust. In those cases,
women wore an extra undergarment called the bust bodice, which sup-
ported the breasts. Bust improvers made of celluloid or cotton pads were
available for women who wanted to enhance their bustline.
Camisoles could be worn over the corset, and petticoats would be
worn in layers to fill out skirts. The petticoats included flounces at the
bottom to enhance the trumpet shape in skirts.
Sleepwear
Most women wore nightgowns and boudoir caps to bed. The gowns were
made of cambric, muslin, and flannel depending on the season. White was
the most common color, but pastels and pinstripes were also popular. Typi-
cally, they included a yoke and ruffles around the neck and cuffs. Round and
V necklines were the most common, and styles featured either long or short
sleeves. Trimmings included lace, lace insertions, and tucks in the yoke.
1900–1908, The Edwardian or La Belle Epoque Era
179
HEADWEAR, HAIRSTYLES, AND COSMETICS
Headwear
Hats came in a variety of styles. Large-scale picture hats complemented
the S-curve silhouette. Although some hats were brimless, most had some
type of brim. There were a variety of brim styles, including the brim
angled down, a large brim angled up, an asymmetrical brim angled up, a
narrow brim angled up, and a narrow brim angled up in the back. Toward
the end of this era, hats were angled forward toward a woman’s eyes.
Most hats were made from straw, woven horsehair, and velvet. They
were decorated with a variety of items, including feathers, cloth flowers
and leaves, artificial berries, ribbon, lace, jet, and birds. Ostrich plume
and marabou plumes were often dyed vibrant colors. The trend of using
exotic bird feathers led to the endangerment of many birds.
Hairstyles
Hairstyles were loose and full. At the back of the neck or the top of the head,
hair was pulled into a bun or chignon. The natural wave of the hair was empha-
sized. For women who did not have a natural wave, they got a marcel wave, an
artificial process that lasted up to a week in properly prepared hair. The pompa-
dour hairstyle puffed the hair up high in the front and side. Often, supports
were added underneath the hair to keep it up. Evening hairstyles were decorated
with jeweled hair ornaments, plumes, and flowers arranged in the hair.
Cosmetics
During the 1900s, cosmetics were very subtle. It was considered unlady-like to
wear noticeable makeup. Very fair skin was fashionable, and women perfected
the pale, flawless look with powder. They colored their cheeks with pink rouge
and the brows with eyebrow pencils. They also used tinting on their lips.
FOOTWEAR AND LEGWEAR
Footwear
Shoes were slender and had two-and-a-half-inch heels. They had pointed
toes. Daytime shoes were made of leather and usually had a strap across the
vamp that buttoned on the opposite side. Sometimes shoes would cover the
vamp with leather. Evening shoes were usually made of silk and were often
embroidered. Boots were less popular and had button or lacing closures.
Legwear
During the day, women wore cotton stockings in neutral or dark colors.
In the evening, they wore silk stockings.
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WOMEN’S FASHIONS
NECKWEAR AND OTHER ACCESSORIES
Jewelry
Most jewelry followed natural themes such as flow-
ers, butterflies, dragonflies, and animals. Brooches,
pendant necklaces, and earrings included this motif,
and they often were crafted in the Art Nouveau
style. Dog collars were very popular for eveningwear.
These were tall necklaces that extended up from the
base of the neck. They usually were made of several
strands of beads or jewels linked together at intervals
by bands. Although wealthy women wore jewelry
made from precious metals and stones, most women
wore jewelry from less-expensive materials. Paste
stones, cut glass, and imitation pearls were popular,
and they were often set into silver gilt.
Handbags
Handbags were usually made of fabric or leather
set onto a metal or ivory frame with a clasp at the
top. The handles were short, because they were
A day suit with coat, hat and muff. [Library of
intended to be worn on the wrist. A variety of
Congress]
leathers such as calfskin and ostrich skin were
used for the bags. When fabric was used, usually
it was silk. Often the metal frames were engraved with decorations, and
sometimes the handles were tied into a bow.
Other Accessories
Muffs were popular winter accessories. They were flat and made of fur.
They were usually coordinated with a stole. Decorative parasols were pop-
ular accessories and were used to keep the sun from tanning women’s skin.
The handle of the parasol may have been made of ivory, silver, or fine
wood, but usually the fabric of the parasol was silk. Collapsible fabric or
ostrich fans were popular, and women often wore boas made of marabou
feathers, especially with eveningwear.
1909–1914,
E M P I R E R E V I VA L
In the years preceding WWI, Americans were shifting toward a break with
past fashions. The highly corseted fashions that extended to the floor were
1909–1914, Empire Revival
181
about to disappear, and the fashion drivers of the period between 1909 and
the war pushed to move the masses in that direction. The era is named for
its revival of the Empire aesthetic that was popular from 1800 to 1815.
FORMALWEAR
Silhouette
The silhouette of this period is aptly named the empire silhouette. It is
characterized by a narrow bodice, a high waistline located just beneath the
bust, and a slim skirt.
Skirts
Skirts narrowed and became shorter. Earlier in the decade, skirt designs
required five yards, and, by 1912, they only required two (New York Times
1912). Skirts behaved more like underskirts, because they usually had a
long tunic over them that extended to the lower thigh. Usually, evening
skirts were made of silk and included a component of visual interest such as
pleating, asymmetrical draping, or beading. By 1913, many skirts featured
panniers, which consisted of gathered fabric to give the hips extra fullness.
Three variations of empire waist tunics with skirts, including a lampshade tunic on
the right. [Library of Congress]
182
WOMEN’S FASHIONS
Bodices
Compared with the Edwardian pe-
riod, bodices greatly simplified dur-
ing the Empire Revival period. They
were more closely fitted to the body
and lost the pouch in the front. They
often had front closures, making it
much easier for women to dress
themselves. Surplice bodices were
extremely popular, and the crossover
in the fabric was usually emphasized
with trim. Typically, the bodice was a
tunic that extended to just above the
knee. The tunic was nipped at the
elevated empire waistline by a sash.
Paul Poiret created an extreme ver-
sion of the tunic style called the mina-
ret or lampshade tunic. A surplice top
gathered into a sash at the empire
waistline, and the skirt of the tunic
was held out in a full circle with bon-
ing. Beneath the tunic, he used draped,
Examples of the harem ensemble, c. 1912–1914. Outfits such as
narrow hemmed skirts and occasion-
these and those by Paul Poiret showed exotic Turkish-style
designs. [Library of Congress]
ally loose Turkish-style trousers.
Neckline
The dominant neckline of the period was the V neck. Sometimes it would be a
deep V with a horizontal inset. Occasionally, round and square necklines were
used. Horizontal insets in square necklines were common as well.
Sleeves
Sleeves were usually short for eveningwear. They were often sheerer than the
dress itself. Many times, they would be edged with fringe or fur. Women wore
long gloves with the short sleeves. Kimono sleeves were also popular.
Decorative Details
Usually, the tunic was net over silk to give the dress a diaphanous appearance.
Pale colors such as steel blue, pale blue, lemon yellow, cream, pink, and white
were popular, but dark colors such as black, royal blue, and emerald were not
rare (Olian 1998). The oriental influence was incorporated in the decoration,
especially the embroidery. Other common forms of decoration included
beading, lace insets, lace trim, fringe, and trains. Frequently, decoration was
1909–1914, Empire Revival
183
applied asymmetrically. Surplice bodices were trimmed with a variety of
embellishments, including ruffles, fur, and fabric rosettes.
BUSINESS WEAR
Silhouette
Business wear followed a silhouette that was similar to the one used for
eveningwear. The empire waistline was usually a little lower than the one
used for eveningwear, but it was still well above the natural waistline.
Skirts were narrow and shorter, and the bodice included a tunic or long
jacket.
Suits
Suits consisted of narrow skirts and long, belted jackets. As early as 1908,
the waistline was moving up toward the bust, and the jacket was belted,
nipped, or featured a waistband at the elevated waistline. Later in the pe-
riod, jackets gathered at the waistline and expanded into fullness around
the hips. The hem of the jacket extended past the hips, and the sleeves
were generally close fitting. Sometimes they included cuffs. The skirts
narrowed as the period progressed, and they were slit at the front or side
for easier maneuverability.
Decorative Details
Wool was a common fabric choice for suits. Frequently, cheviot, a rough-
surfaced twill, was used for its durability. Buttons and embroidery were
used as embellishments. Contrasting silk or velvet insets t
rimmed cuffs
and lapels.
CASUAL WEAR
Silhouette
Like business wear, the silhouette of casual wear was dominated by the
elevated empire waistline, but it was not as high as the ones used in eve-
ningwear. The skirts were slim, with hemlines that were one to three
inches off the ground.
Dresses
Usually, dresses were one piece, although separates and suits were equally
popular. By 1909, the silhouette had straightened, eliminating the S-curve
that had been popular earlier in the decade. The waistline had begun
moving toward the bust, and the skirt narrowed.
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WOMEN’S FASHIONS
Bodices became more fitted, and the pouch of the previous years had
completely vanished by 1912. The abundant frilly lace that dominated
bodices earlier in the decade became quieter accents along the neckline
and sleeves. The full bishop sleeve disappeared and was replaced by close-
fitting sleeves that ended in cuffs, shorter kimono-style sleeves, and elbow
or three-quarter-length sleeves. Undersleeves appeared beneath shorter
sleeves. High collars, which had been a fashion staple for decades, gradu-
ally disappeared and were replaced by V, round, and square necklines.
Guimpes, which were inserts into V and square necklines to add modesty,
were common. Bolero-style bodices were common by 1913, and dresses
that simulated a pinafore-style bodice were popular as well.
From 1909 to 1911, simple narrow skirts were the norm, but, in
1912, the hemline narrowed further. The most extreme of these skirts
was a hobble skirt, because it effectively restricted the wearer’s stride.
Some women wore restraints around their ankles to keep themselves
from ripping their skirts. Less severe skirts often included a slit to ease
movement.
Separates
Blouses/Shirts. Tunic layers over underskirts were very common. Tunics
came in a wide variety of styles. Some were narrow, some followed the
dress silhouette in which they were full at the hip and narrowed toward
the hem, whereas others were full from the waist to the hem.
Shirtwaists continued to be paired with skirts and suits. They were less
elaborately decorated than the ones earlier in the decade. Some of them
were tailored like men’s shirts, complete with high collars and separate
neckties. Others had lower lapels and lower necklines, which were often
worn with jabots.
Skirts. Like the skirts of dresses, separate skirts ranged in silhouette