by C. Willett
In the art of costume the use of a brilliant colour always implies a wish—often unconscious—that the garment may be seen and admired; for it to be seen only by the wearer scarcely satisfies the instinct for arresting colours. To say, then, that the taste for these gladsome undergarments was essentially erotic is but to agree that under the surface of a drab world the pulse of Nature was beating hopefully as ever—
. . . and all unseen
Romance brought up the Nine-fifteen,
MEN
In the early days after the war was over the first impulse was to try to forget it; for a few years attempts were made to revive the distinguishing marks of the gentleman as they had been just before the vulgar disturbance of 1914-18. Starch had been the gentleman’s best friend, but now it failed to restore the status quo ante, and by 1928 that popular leader of fashion, the Prince of Wales, publicly condemned ‘the boiled shirt’ of his ancestors. His personal taste for somewhat garish colours in dress was in the new spirit, and encouraged the break with tradition. He helped to establish the modes of the common man.
I. THE SHIRT
(a) For Day Wear
Although for formal wear the white shirt with starched front and cuffs persisted through the 1920’s, it was equally correct to wear with a morning coat a striped shirt with white collar, usually winged, and a bow tie or sailor knot; with the lounge suit, a coloured shirt with double collar. ‘Coloured collars to match the shirt are no longer fashionable. The correct shirt for the newly popular white collar should be of some light shade of taffeta or Oxford shirting, with a heavy silk tie of some fairly bright hue, patterned or spotted’1 (1925).
The next year we are told, ‘since white shirts practically disappeared except for formal and evening wear, there is tremendous scope in colour—putty shades, cedars, blue-greys, peach tones. . . , and ‘coloured collars to match are going strong’ (The Tailor and Cutter, 1926). ‘The new soft collars with detachable supports are a great advance on the sloppy silk ones of a year or two ago.’
The white and the coloured collar were social symbols, each struggling to come to the front in a neck-and-neck race, aided by characteristic ties. ‘Reptile ties are so realistic as to be truly startling,’ and were shunned by those of sensitive taste. ‘A revival of the Ascot would be welcome. It makes a good-looking man handsome and an ordinary man distinguished’ (1926).
By now, for formal wear, a striped shirt, winged or double collar, with Ascot bow or knot tie was correct, while for other occasions a striped or coloured shirt, double collar and dark tie were usual. The knitted tie was popular, but not to be worn with a winged collar. During the next four years the Ascot, either as a crossover cravat held in place by a pin, or the broad wrap-over almost filling the V above the waistcoat, effected a brief come-back for formal morning dress, while the informal tie broke out into strongly marked ‘fancy’ stripes, in which the common man asserted himself in a noisy fashion.
For ‘sports,’ such as golf, a coloured flannel shirt with soft collar, pinned, could be worn; for weddings the plain white shirt and collar; and for funerals the white shirt with black stripes (and, of course, black tie) was required as late as 1926.
Conventional restraints relaxed as the next decade opened. ‘A well-defined tendency is for ties, collars and shirts, worn with morning coats, to display more colour’ (The Tailor and Cutter, 1929).
Pale blue shirts with morning suits, and shirts of poplin, silk, tussore, and striped zephyrs, with stiff collars to match, worn with open-end neckties of striped foulard became fashionable. And when at Ascot there were seen blue-striped, pink-striped and plain blue shirts and collars, with lavender and blue ties, it was evident that the white shirt for day wear was not only ‘dead but damned.’ Yet although the collar was usually the colour of the shirt, and often striped, white collars persisted. One firm was showing ‘over twenty distinct and separate styles of white stiff collars’ (1929)—usually of the double form with pointed fronts. Evidently not all men were willing to move with the times.
Meanwhile the ‘tennis shirt’ was providing a wide choice of materials—white, matt and cream cotton taffeta, union flannel, twills, silks and lustre weave.
The 1930’s saw an increasing preference for the coloured shirt, made with or without attached collar,2 in silk, taffeta, crépe and wool taffeta, while collars of the Van Heusen3 make also became popular. The day-shirt made in the coat style was becoming very general. This form, borrowed from America, enabled the garment to be put on without disarranging the carefully arranged hair-wave or disturbing its buttery surface.
(b) The Dress-Skirt
Soon after the war the front with two studs became the settled mode, in spite of the Prince of Wales’s adoption, in 1926, of the single stud. At the same time the shirt of marcella or piqué with plain semi-stiff double cuffs, or the shirt with pleated front, captured popular taste. The latter, for some reason, might not be worn with dinner jackets.
The winged collar, with wider wings, was worn, with a bow tie of the ‘thistle type,’ that is, with the ends expanding ( figure108).4
FIG. 108. MAN’S EVENING DRESS-SHIRT, WITH MARCELLA FRONT. AUSTIN REED LTD., 1938
The stiff front became narrower by 1928, when the soft-fronted shirt became permissible with the dinner jacket. The pleated front had but a short life; the laundry saw to that. And the 1930’s found the double collar creeping into use, at least with the dinner jacket, while the fancy materials declined in favour.
(c) The Sports Shirt
A novelty of the late 1920’s was the combination shirt, of cotton or wool taffeta; the upper part in shirt form with turndown collar, continued below into knee-length trunks.
2. THE COMBINATION
This garment, derived from America, became increasingly popular after the war, so that by 1929 ‘a more general adoption of the combination of one-piece suit for underwear in place of a vest and pants’ (The Tailor and Cutter, 1929) was noted. At first it was mainly for summer wear, in white gauze, merino, Aertex cellular, or natural wool (from a list of 1927)’, and was made with ‘half sleeves, pant legs, short legs or knicker legs,’ but it soon appeared in heavy woollens for winter. The garment tended to become sleeveless, with a V neck and with short trunk legs, even for winter wear.
FIG. 109. (left to right) SINGLET AND SHORTS. JAEGER, 1935ߝ6; MAN’S UNIT-SUIT. JAEGER, 1936ߝ7 ; MAN’S PYJAMAS. JAEGER, 1929-3O
3. SHORTS AND TRUNKS
These, made with Lastex waistbands, became very generally worn in the 1930’s.5
4. THE SINGLET
Some with jersey necks and quarter sleeves, and others with low neck and sleeveless, were in the 1930’s displacing the vest.
5. THE VEST, DRAWERS AND KNICKER-DRAWERS
These still continued to find favour with many, and were more or less on the old models.
Although the above undergarments were very commonly in natural colours, there was a growing taste for something more exhilarating. ‘The cult of colour in gentlemen’s outfitting grows apace’ (1929), and we learn of ‘even undervests, drawers, and combinations in salmon pink, sky blue, light fawn, peach, etc.’ (1929), in fabrics formerly reserved for feminine underwear.
6. PYJAMAS
These were in fabrics of lighter weight than formerly, and of a wider choice of materials; silk, artificial silk, cotton mixtures mercerized to give a smooth surface, with damasked patterns and coloured designs. By the 1930’s they had become man’s gayest garment, except for his dressing-gown (figure 109).Thepractice, which arose after the war, of pottering about the house in pyjamas and of both sexes seeing each other strolling to the bathroom, entirely destroyed the ancient association of nightwear and strict privacy. After all, this was but a return to the idea of the eighteenth-century ‘nightgown,’ which had been a kind of informal negligée.
We find that trade catalogues were still listing ‘gentlemen’s nightgowns,’ reaching the ankle, as late as 1930.
WOMEN
No period
in history has presented a greater variety of underclothes, and though so much reduced in bulk, they developed a new importance and complexity. Familiar names were attached to novel shapes, and new names to old; composite garments of two or more parts came and went; items hitherto belonging to the other sex appeared in feminine guise, with, perhaps, titles jocular or slangy. The practice of rival manufacturers attaching distinctive trade names to models not otherwise distinguishable, added to the confusion. In time to come students of costume, poring over this period, may well find it the most baffling of any. The task of clarifying is difficult, and it has seemed better to rely largely on contemporary descriptions, together with some prices.
Of the many materials employed artificial silk in various forms predominated, and this was available for all classes. It is also interesting to note that after the first World War, ‘Government Balloon fabric, for lingerie, men’s shirts and pyjamas, 3/- a yard,’ was advertised in 1920.
The garments may be divided under two headings, Single and Composite.
A. SINGLE
I. THE CHEMISE
Becoming ‘the vest/ in 1924, though surviving under its original name until the end of the period. Samples of different dates indicate prices:—
‘Lawn chemise and knickers, handmade and tucked, Valenciennes lace and ribbon,’ 10/6 each (1919).
Milanese silk chemises, 52/6 (1920).
‘The latest backless chemise for evening, in triple ninon and lace, from 35/-’ (1926).
The chemi-vest, in art silk, 31 in. long (1928).
‘Chemise in silk suzette or chiffon, 18/9’ (1938).
2. THE UNDER-VEST
Usually of wool, was an unfashionable garment, but nevertheless worn by many, and appearing in trade catalogues throughout the period. Some were also made in a mixture of silk and wool, for example: ‘Milanese silk vest, 15/9’ (1924). ‘Spun silk vest, 21/9’ (1936).
3. COMBINATIONS
A close-fitting woven garment, becoming almost ‘tights’ during the 1930’s.
Merino combinations, short sleeves, 9/11 (1919). Milanese silk combinations edged with lace, in pink or white, 78/6 (Dickins & Jones) (1920). Silk and wool combinations (1932). Combination tights with lace tops; Lastex at waist and knee (1935).
4. THE CAMISOLE
This disappeared as a separate garment towards the end of the 1920’s. A late instance is ‘For evening dress, camisole of satin beaute, fastening under the arm, trimmed with lace. In ivory, pink, apple, peach, apricot and cyclamen, 73/6’ (1927).
5. THE brassière
Becoming known as the ‘bra’ in 1937. This developed from the bust bodice, and in the 1920’s became very tight, compressing the breasts to produce the straight, shapeless form then fashionable (figure 110). By 1932 it had shortened considerably and was designed to separate and support the breasts.
FIG. 110. (left) brassière AND DRAWERS, 1927; (light) CAMI-KNICKERS, 1926
FIG. 111. CORSETS. ROYAL WORCESTER, 1921
‘Long brassière in lace and embroidery, coming well over the corset’ (1923). The ‘no-shoulder strap brassière’ (1926). ‘Elastic pull-on brassière’ (1929).
6. THE CORSET
‘Corsets of woven porous elastic, 16 in. deep, 5 guineas’ (1923). Wrap-around rubber corsets to compress the buttocks. Rubber corsets with broché panels lacing below the busk, 29/6 (1925). ‘Corsets to produce a slenderizing effect on the figure’ (1928). ‘Corsets define the hips and normal waistline; the waistline of the corset is slightly higher than last year, dipping at the centre of the back.’ ‘The bust is never compressed or flattened.’ ‘Low-backed corsets with up-lift brassière, long enough to grip the hips and thighs tightly’ (1931).
7. THE BELT
This was a substitute for the corset, which varied from abdominal supports to light suspender belts with or without bones. Some were made of elastic only, and became known as ‘roll-ons,’ whereas those with a zip fastening were called ‘step-ins.’ In 1932 the two-way stretch material was introduced by Messrs. Warner Brothers. This was made of Las-tex (figure 114), a fine elastic thread which could be woven into a fabric. These two-way stretch belts were hailed with enthusiasm, as they gave the wearer perfect freedom of movement without any ‘riding-up.’
‘Long belt in thread and silk cut low at the back for evening, with elastic top forming brassière, 5 guineas’ (1929).
At a mannequin parade in 1933 ‘each glided past with her suspenders as apparent under her skin-tight skirt as if she were wearing them outside. In many cases the line of her belt was visible.’
‘Step-in belt, 14 in. deep, with zip side fastening’ (1937).
FIG. 112. BATHING CORSET, I922.
8. KNICKERS
The so-called French drawers with open legs, and the closed directoire knickers persisted throughout the period, though the latter tended to become unfashionable. By 1924 knickers became shortened into ‘panties,’ and then to ‘trunks’ in 1930, finally becoming ‘pantie briefs,’ for sports costume, near the end of the period.
‘Woven knickers, various colours, 5/3’ (1919). ‘Crêpe de Chine knickers, closed shape, elastic waist, 23/6’ (1920). Lingerie with coloured hem, e.g. tangerine or lemon, advertised in 1920; and underwear figured with designs of birds and flowers, e.g. black owls embroidered on lawn, in 1921.
‘The creaseless perfection can only be acquired by wearing a minimum of clothing beneath. What would our grandmothers have thought of limiting them, with evening dress, to a pair of panties?’6 (1924) . And in 1926 ‘although the smart world has become accustomed to seeing practically all of a stocking it still considers the knicker an intimate garment.’6 (In practice, however, strangers sitting opposite would freely exchange such intimacies—in dumb show.) By 1927 knickers were well above the knee. ‘Georgette knickers in lovely evening shades, 35/9’ (1927). In 1930, ‘with the heavier materials for evening dress no petticoat slip is worn. With the very short skirt, knickers confined at the knee were necessary, but now that skirts are longer and slimness just as much admired, the best type of knicker (often yoked) fits close to the leg and ends at the knee without gathers, or if of silk tricot, in a garter band. For sports wear, tricot knickers very like trunks, of the same material as the sports skirt.’7
Fine wool vest and knickers. All-wool vest and panties for sports (1932). Very small knickers with elastic net sides, and suspenders hidden under frothy frills. Triangular knickers of pink crépe chiffon, cream needle-run lace and plissé frills. Tailored panties (1934). For sports, pantie trunks and pantie briefs. Ribbed knicker-briefs (1939).
9. THE PETTICOAT
The original form, attached from the waist, became rare until revived for evening wear at the close of the period, and was replaced by the Princess petticoat, which became known, after the first war, as a ‘Princess slip,’ and presently as a ‘slip.’ They varied greatly in design and material, as will be seen.
‘crépe de Chine petticoat, elastic at waist, 23/6. Striped moirette petticoat, brown, blue or green, 12/6. Soft silk satin petticoat, scalloped at edge, with pleating, 29/6’ (1920).
‘Princess petticoats with vandyked edge, knee length; or with three rows of petal flounces; in black, navy, flame, castor, 35/9 (1921). ‘Fashion denies us petticoats or any underwear that’s not of the flimsiest materials’ (1922). ‘Princess petticoat in silk milanese, waistline held in with elastic; length from shoulder 48-51 in.; shoulder straps’ (1923). ‘Princess petticoat, round neck, 31-33 in. long, of georgette, crépe de Chine, or silk’ (1924).
FIG. 113. CHARNAUX CORSET BELT AND CASLIS brassière, 1933
FIG. 114. THE TWO-WAY STRETCH CORSET AND brassière. WARNER BROS. (CORSETS) LTD., 1933
FIG. 115. (left to right) ‘FRILLIES FOR THE TINY LADY’—WAIST PETTICOAT, CAMISOLE AND KNICKERS, 1939; COMBINATIONS IN SILK AND MERINO, 1934; NIGHTDRESS IN ALLSILK SATIN, 1939
Princess slips with vandyked hem (1927).
‘Slips are shaped like the frock, and fit the natural waist.
The straight sacklike slip is wrong. Slips may have brassière top and a shaped band at the waist to which knickers are attached, thus combining the three garments (especially for evening). Of tricot and washing satin.’ Underslips of heavy silk crépe in peach or pink, or of flowered crépe de Chine, for day; black for black evening frock (1930). A rustling petticoat was often worn under an evening crinoline dress in 1931. ‘It is important in this season of revealing lines to have a slip that fits like the paper on the wall’ (1932).