by The Greenwood Encyclopedia of Clothing Through American History 1900 to the Present (pdf)
from straight and slim to exaggerated emphasis on the hip and extremely
narrow hemlines. Peg-top skirts were fashionable. They were full over the
hip and then narrowed to the hem.
Decorative Details
Although frills and trims continued to be used, they were less elaborate
than they were earlier in the decade. Popular colors moved away from
candy-colored pastels to putty, brown, black, cypress green, navy blue,
plum, mauve, and delft blue (Olian 1998).
Frequently used fabrics included foulard, which was a silk or cotton
made into a finely woven twill, and printed with geometric patterns such
as circles and stripes. Another common summertime fabric was batiste, a
1909–1914, Empire Revival
185
finely woven lightweight cotton. Silk shantung, which incorporated the
irregularities of the fiber into the weave, was used for dressier daytime
garments. Wool was frequently used, especially in fall and winter casual
wear. It was woven into plain weave and cheviot. Silk cashmere and velvet
were commonly used in finer casual wear for the afternoon.
Embellishments tended to be clustered along the edges of garments.
Common decorations included lace collars and cuffs, edging on the hem of a
tunic or skirt, and braids and embroidery along collars, cuffs, and necklines.
By 1912, fur was commonly used as a trim along necklines, sleeves, and
hems. Lapels, also known as revers, became a focal point of embellishment
with contrasting colors of satin, velvet, and embroidery. Fabric sashes, fabric
belts, and leather belts accentuated the elevated waistlines.
OUTERWEAR
Coats
Daytime coats were long or extended to the mid-thigh or knee. By the
end of the era, some coats were so short that they extended just below
the hip. They followed the narrow empire silhouette. The shorter, looser
versions of coats were called paletots. Some had front closures, whereas
other coats wrapped across the body and fastened on the far left side.
Lapels could be broad and accented with embroidery or contrasting fab-
ric trim. Frequently, fur trimmed the collar, cuffs, and hemline. Early in
this era, buttons not only served as closures but as decoration along the
back and sides of the skirt. A variety of materials were used to make
coats, including wool herringbone, velvet, silk, corduroy, and a variety
of furs.
Evening coats were loose and full-cut across the back. A few styles
had asymmetrical hemlines that dipped into points on the sides.
Shawls/Wraps
Fur stoles continued to be popular, and sometimes their ends were embel-
lished with fur tassels. Capes were less frequently used.
SWIMWEAR AND SPORTSWEAR
Swimwear
Athleticism began to override the prevailing modesty. Previously, swim-
suits had followed the lines of dresses replete with voluminous skirts. By
1910, a wool tighter-fitting one-piece suit was generally accepted. When
it got wet, it sagged considerably and hugged a woman’s curves. Typically,
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WOMEN’S FASHIONS
suits had rounded or V necklines, were sleeveless, and had long tunic-style
tops over shorts that extended to the mid-thigh. These suits were worn
with a matching cap and stockings that went up to the mid-calf. In 1910,
Jantzen marketed a new fabric called rib stitch that stretched and kept its
shape when wet.
Sometimes suits still had skirts for modesty. Many people thought the
form-fitting suits were scandalous, and they exposed too much of the
arms, legs, and neck. Sometimes bathers who showed too much skin
risked arrest and indecent exposure charges.
Golf
Golf required a sport suit with a short shirt that extended to mid-calf.
The suit was loosely fitted in the jacket and waist and had raglan sleeves.
Sometimes the skirt would have a slit to ease movement.
Other Activewear
Ice skating was quite popular during the Empire Revival period. Ice skat-
ing costumes featured wider hemmed skirts than typical casual wear. Slits
were added to the skirts for freer movements. Over the skirts, belted mid-
thigh-length jackets were worn. Sometimes the belts were worn high up
over the waist, and other times they were lower at the natural waist or
below. Warm hats, gloves, and muffs completed the ensemble.
Generally, activewear was tailored for easier movement. Raglan sleeves,
jackets with loose-fitting backs, and knitted jackets allowed free arm move-
ments. Hemlines were shorter and broader. Caps and hats were lower and fit
more closely to the head, so they no longer needed to be tied down by a veil.
UNDERWEAR AND INTIMATE APPAREL
Undergarments
The fashions of the Empire Revival period did not require as many
undergarments as the fashions earlier in the century. Although most
women continued to wear corsets, many women gave them up, and several
designers created garments that did not require them. Combination
underwear that brought together drawers and the chemise continued to
be popular. As the silhouette narrowed, princess-style petticoats became
popular because women did not need extra bulk underneath their dresses.
The ruffles, fluffy bows, and puffs of lace from the 1900s were replaced
with flat bows and bands of lace.
Sleepwear
The changes in nightgowns mirror those in undergarments. Extravagant
ruffles, lace, and gathers of fabric fell out of fashion. The silhouette
1909–1914, Empire Revival
187
narrowed close to the body. A typical style included two bands of flat lace
that extended over the shoulders and down to the hem. They were broken
by two transverse bands of lace at the neckline and just below the bust.
Gowns could be practically sleeveless or have longer sleeves or kimono
sleeves. Square and V necks were popular.
Parisian designers such as Paul Poiret dabbled in sleepwear. In 1910,
they designed nightgowns in the ‘ peasant style’’ (Rittenhouse 1910). These
nightgowns were cut in a square silhouette like peasant smocks. They were
straight and long, with a long, narrow panel of eyelet down the front. The
sleeves could be straight and narrow, ending in a cuff with lace edging,
loose and full, or three-quarter length. Sometimes this style of nightgown
had a low-cut neckline that was filled with heavy white net.
Muslin, lawn, cr^epe de Chine, and flannel were commonly used fab-
rics for nightgowns, and white and pastels were popular colors. Flat
bands of lace, wide embroidered beading on the sleeves, flat bows,
embroidered buttonholes, and flat rosettes made from ribbon were com-
mon embellishments.
Boudoir caps were made of strips of heavy brocade, which covered a
lace foundation. Another popular cap was a cr^epe de Chine bandana-style
wrap that had ends that snapped together.
Other garments
For lounging, women would wear kimonos and dressing sacques.
HEADWEAR, HAIRSTYLES, AND COSMETICS
Headwear
Around 1910, oversized hats were popular. These substantial hats could
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p; be as wide as a woman’s shoulders and quite tall. Embellishments were
heaped onto these hats. They were topped with enormous ribbons tied
into bows, artificial flowers and leaves, and exotic feathers. By 1912, the
decoration became more subdued and the height of the crown shrunk.
Narrower, less constructed hats such as berets and turbans became stylish.
By 1913, plumes of exotic feather jutted vertically and horizontally from
hats. Hats were constructed of straw, velvet, and woven horsehair.
Hairstyles
The pompadour fell out of favor, and hair was less bouffant. It was still
pulled into a bun at the back or top of the head and arranged loosely
around the face and sides. Marcel waves and other waving techniques
were still used by women with straight hair.
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Cosmetics
Women continued to aspire to have flawless, pale complexions, which
they achieved with powder and carefully applied rouge. Colored salves
tinted the lips, and pencils darkened brows.
FOOTWEAR AND LEGWEAR
Footwear
Daytime footwear was made from leather, whereas evening shoes were made
from satin, silk brocade, or kid leather. Most shoes had a two-and-a-half-
inch heel and featured straps that crossed the vamp and fastened on the
opposite side with a button. In another popular style, the shoe tongue was
visible beneath a decorative buckle. Oxford style shoes were popular as well.
Legwear
Legwear did not change from the Edwardian period. During the day,
women wore cotton stockings in neutral or dark colors. In the evening,
they wore silk stockings.
NECKWEAR AND OTHER ACCESSORIES
Jewelry
Pendant necklaces, drop earrings, rings, and cuff bracelets were popular.
Decorative and jeweled hair pins and hat pins were common eveningwear.
Multiple strands of pearls were worn with evening gowns, and wealthy
women piled strands of precious stones around their necks for social
occasions.
Handbags
Although leather and fabric handbags on metal or ivory frames continued to
be popular, a new pouch-style bag emerged. The pouch-style bag made from
either leather or fabric had a longer handle and a flap and button fastener.
Other
Women continued to wear gloves, carry parasols, and wear both fabric
and leather belts.
1914–1919,
W O R L D WA R I
This period is named for the war that dominated the social landscape of
America during this time. Fashions shifted to become more utilitarian
and functional.
1914–1919, World War I
189
FORMALWEAR
Silhouette
The silhouette during this period featured wide, loose bodices and waists
and wide hips that were augmented by tiered skirts and flounces. The for-
malwear silhouette is similar to the daytime lines, although the waistline
was usually higher than the natural waist.
Skirts
The width of the skirt made it a focal point. Overskirts, flounces, gath-
ers, ruffles, and floating panels of fabric were situated to give the hip a
wide appearance. At the beginning period, skirts extended to the ankle,
but toward the end of the decade, they were several inches from the
ground.
Formal dresses often had more than one layer of overskirt made from
a variety of light, delicate fabrics such as chiffon, lace, and cr^epe de
Chine. The overskirts came in various lengths from just below the hip to
mid-ankle. Some overskirts had handkerchief hems or draped hems.
Bodices
Bodices were loose fitting and accented by a loose waistband or sash that
was above the natural waistline.
Neckline
Popular necklines included square, V, and round. Sometimes decolletage
was filled with transparent fabric.
Sleeves
Sleeves were either short or extended to the elbow. Raglan sleeves were
very popular, and the dropped shoulder created by the sleeve style was of-
ten emphasized with fabric or lace draped from the waistline over the
shoulder. Sleeveless styles only had narrow straps over the shoulder.
Decorative Details
Formal gowns were usually made in light-colored fabrics such as pink,
light blue, and white. Black was another popular color. Silk, cr^epe de
Chine, chiffon, lace, and georgette crepe were commonly used for for-
mal dresses. Beading and embroidery in gold and silver remained popu-
lar trimmings. Embroidered chiffon overlays were commonly used, as
were lace trim and insets. Satin sashes were another frequent formal-
wear feature.
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BUSINESS WEAR
Silhouette
The silhouette of business wear was similar to that of formalwear: loose
bodice, loose waist, and full, wide skirts. The waistline in business wear
tended to be closer to the natural waist.
Dresses
After 1914, dresses became less popular that suits. Dress bodices were
relaxed, and, although waistlines were loose, they were defined with
loose-fitting belts. Various necklines were popular, including V-shaped,
squared, and occasionally round. Sailor collars, which were extremely pop-
ular for young people, were worn by women as well. Generally, sleeves
were straight and fitted. Skirts were full at the hip and the hem. The full-
ness was achieved through gathering, pleating, or gores supported by pet-
ticoats. Overskirts were designed into dresses to add fullness at the hip.
Suits
Because of their functional nature, suits became more popular than dresses
during this period. Suit jackets were long and belted at or slightly above
the waist. They had close-fitting sleeves and cuffs. In 1914 and 1915,
many jackets were three-quarter length and had a cutaway hem that
gently sloped back from the front. By 1916, the straight hem was more
popular, and jackets had become shorter. The jacket closure usually con-
sisted of buttons beginning below the bust.
Suit skirts were full with extra width at the hip. In 1914, they were
ankle length, but they gradually shortened to mid-calf length by the end of
the decade. Initially, skirts were somewhat narrow at the hem, but, by 1915,
the fullness that started at the hip continued to the hem. The skirt waist
was raised slightly above the natural waistline. Overskirts and tiered skirts
added fullness, and gores and pleats were used to flare skirts out at the hem.
The Norfolk jacket became popular for women. This hip-length jacket
had close-fitting sleeves, a simple, notched collar, and a loosely belted
waist. Often it had two vertical bands extended from the hem, over the
belt and shoulder, and ended at the hem on the opposite side. Many
women wore military-style jackets with a high, standing buttoned collar, a
row of metal buttons down the front, and a belt.
Decorative Details
Suits were usually made from wool or cotton in serge, crepe, or jersey
weaves. Popular colors included navy blue, brown, black, dark green, and
tan. Many suits had cont
rasting color fabric on the lapels. Buttons were
1914–1919, World War I
191
frequently used for trim. They were arranged in rows on belts, suit jackets,
and skirts.
CASUAL WEAR
Silhouette
During the war, women’s dresses became wider and shorter. By 1917, the
hems were as far as eight inches from the ground (Tortora and Eubank
2005). They had loosely belted waistlines that were placed at the natural
waist or slightly above. Skirts were wide at the hip. In the last two years
of the decade, the waistlines grew wider, skirts narrowed, and hemlines
lengthened.
Dresses
Casual dresses had easy-fitting bodices and loose-fitting belts or sashes
around high waists. Necklines were V-shaped or squared, and sailor col-
lars were popular. Typically, sleeves were close-fitting and had cuffs.
Skirts were ankle length or shorter, and they were gored, pleated, or
gathered to add to their fullness. Overskirts added fullness to the skirt.
Although most overskirts went completely around the body, some only
extended over the side and back. Some overskirts had handkerchief hems,
and others were finished with ruffles or other embellishments. Skirts
sometimes had pleats on the sides to ease movement.
Dresses were typically made from wool challis, wool serge, wool crepe,
silk, cr^epe de Chine, and moire. Black, brown, navy blue, and dark green
were common colors, although white was a popular summer color. Typical
embellishments included rows of buttons on skirts and bodices and flat
bows on the bodice or sash.
Housedresses were worn for work activities around the house. They
were made from durable fabrics such as chambray, flannel, and cotton
serge. They had a narrower ankle-length silhouette with no overskirts.
They had simple turned-over collars and close-fitting three-quarter or
full-length sleeves. Everything about this style of dress was more austere
than regular daywear. These dresses usually came in muted colors that did
not show dirt easily, such as blue, gray, and lavender. There were few
trimmings beyond buttons.
Separates
Blouses/Shirts. Blouses had sleeves and yokes that were cut in one piece.
Raglan sleeves were very popular because they were comfortable and
allowed easy movement. Turnover cuffs were common, and they could be
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WOMEN’S FASHIONS