by C. Willett
1O.THE KNITTED SPENCER
This was an unfashionable garment, but frequently worn for warmth.
B. COMPOSITE
During this period there was an extraordinary outburst of combination garments, various comprehensive names for which appeared in the trade catalogues. Examples of some of these will be given under their appropriate headings.
1. THE CORSELETTE
A combination of corset and brassière, appearing first in America in 1921, and followed a year later by the ‘underbelt corselette,’ with added belt for extra abdominal support. This was also known as the ‘foundation garment.’
Subsequent variations, with additions, were produced, such as:—
The Corslo-silhouette, a combination of bust bodice, hip belt, jupon and pantalon; of satin (1923).
The Corslo-pantalon-chemise, knickers, corset and camisole in one, with suspenders attached on the inner side (1923).
Corset, bust bodice, detachable knickers and petticoat, stepped into and fastened behind, for evening wear, ‘ensures perfect control’ (1925) .
The combined bodice and hip belt (1929).
‘“Scanties” are slim-fitting knickers to replace panties and belt, under beach dress or shorts’ (1934). A similar garment is also referred to later as ‘pantie trunks,’ ‘pantie briefs,’ and another variation was Charneaux’s pantie-belt.
2. CAMI-KNICKERS
Formed by uniting camisole and knickers; occasionally called ‘chemise-knickers.’ They were at first referred to as ‘step-ins,’ a term later applied to elastic belts with zipped side fastening. Cami-combinations (1919) was another version.
‘Cami-knickers in crêpe de Chine, the skirt falling in points from elastic at the side of the waist’ (1922). ‘Cami-knickers, step-in, with yoke and shoulder straps; petal skirt’ (1923). For evening, with back décolletage, cami-knickers of ninon with apron-front, and backless. Cami-knickers in triple ninon, pleated for the bodice, lace trimmed and hem-stitched, with vandyked edge, 49/6 (1924).
‘The tailored maid wears a tailored silk chemise step-in, peach-coloured with orchid folds at the hips; or a silk vest with net yoke and straps, and French drawers’8 (1925).
‘Apricot crêpe de Chine cami-knickers with wide lace yoke; lace trims the knickers and flounce of the skirt which is finely pleated on each side’9 (1927).
‘It is almost impossible to imagine anything more fascinating that the lingerie of to-day. The cami-knicker at its best is a thing of sheer delight in peach-coloured georgette’10 (figure 117) (1928).
‘The popular cami-comb. in artificial silk, peach, beige, green, cyclamen or black, 14/11’ (1928).
‘New suspender cami-knickers in crépe de Chine, with attached suspenders’ (1929).
‘Modern cami-knickers conform to the contours of the figure.’ ‘The slightest lump will betray itself; if you eat a grape it will show; the one-piece garment is the only solution’11 (1932). ‘Enchanting and deliciously feminine cami-knickers in crépe suzette or satin sheath-like fit, pink or peach, 21/9’2 (1938) .
FIG. 116. CAMI-KNICKERS IN CRèPE-DE-CHINE, 1922
3. CAMI-BOCKERS
Comprising camisole and closed directoire knickers. The ‘bocker’ usually fastened behind with three buttons at the waist, the sides of the flap being closed by ‘poppers’ (press studs).
‘Cami-bockers, two-piece; opera top with shoulder straps. Leg buttons at side; double gusset at fork of pleated knicker. Elastic at knee’ (1927).
‘Low-backed cami-bocker in rayon; directoire knickers and shoulder straps; in peach, mauve, pink or black, etc., 21/9’ (1930). ‘Cami-bocker in ladderless rayon, tight fitting lace bodice, 21/9’ (1930).
FIG. 117. WOMAN’S CAMI-KNICKERS IN GEORGETTE. STEINMANN, 1928
Other composite garments were ‘skirt-knickers,’ ‘knicker-petti-coats,’ and ‘trouser-skirts,’ chiefly worn during the second half of the I920’s.
NIGHTCLOTHES
The nightgear between the wars reflected the spirit of the dress of the period. The increasing preference for pyjamas, often tailored, and the frank display of regions of the body which formerly had been so carefully concealed, was characteristic. While the nightdress tended to preserve its traditional qualities the pyjamas, still somewhat of a novelty, encouraged many experimental forms. The waistless dress of the late twenties and its emphasis on the boyish figure was echoed in the nightgear, with a vogue for jumper pyjamas and tunic tops which disguised the feminine shape and were not unlike the schoolboy’s.
With the growing femininity of the thirties, erotic styles developed to a marked degree. The bias cut of the evening dress was imitated in the nightdress so as to fit the outlines of the body; and the low neck and gaping sides would reveal what was otherwise concealed by semi-transparent materials. With these an additional garment, in the form of a short coat or bolero, became a necessity. One notes, too, that the skirt of the nightgown was lengthened and expanded, often with godet pleats, imitating the design of the evening dress.
At the same time the ill-defined low waistline of the twenties changed in the next decade to a high-waisted Empire style. The somewhat masculine pyjama trousers, previously with narrow legs, now expanded from the knee down so as to simulate, when standing, the outlines of a skirt.
Towards the close of the epoch, however, the threat of war introduced a more serious note, and the tailored pyjamas and nightdress with long coats worn over them seemed to presage the possibility of sudden air raids and a dash to the shelter. Even so the more glamourous modes were still in demand and continued to function.
The colours employed throughout the epoch were very various, of every shade that might catch the eye; white, however, was conspicuously absent.
The materials were varieties of artificial washing silk and satin, crêpe de Chine, locknit, shantung and occasionally voile. Trimmings, a noticeable feminine addition in the thirties, were commonly ecru lace, or Valenciennes.
FIG. 118. (left) WOMAN’S LUVISCA PYJAMAS, 1924: (centre and right) PYJAMAS, 1927
The boudoir cap of the Edwardian period had a revival in the twenties, being then used to protect the shingled hair; the shape of the cap was beehive, of ribbon and lace. Later, in the thirties, as the hair-style changed, it became little more than an elaborate hair net worn on the back of the head.
The following examples, selected from contemporary sources, give an indication of these various changes:—
1920. Jumper pyjamas in crêpe de Chine, 89/-.
1922. Nightgowns with immensely wide sleeves, so as to reveal the body.
1923. Nightdresses, with or without waist ribbon; round or square neck. Sleeves, wing or bell opening, or straps across the upper arm. Deep side opening. Pyjamas with Peter Pan collar or jumper top.
1927. The nightdress with high-waisted lace top was the mode, and some were smocked. Kimono sleeves were popular. Some with V neck and sleeveless. ‘Sunset-shade crêpe de Chine nightdress with lace top and shoulder sleeves’ would be suitable for a trousseau, while the colours favoured are indicated in the advertisement of ‘crêpe de Chine nightgown in Madonna blue, cowslip yellow, turquoise, lilac, melon, tulip-leaf green, coral and rose’ at 29/6.
Pyjamas were often tailored, with tunic top, sleeveless or with long close sleeves; the legs somewhat narrow.
The three-piece pyjamas had a short straight coat, as in ‘suit in satin beauté, 6 guineas.’
Lace-wool pyjamas, for greater warmth, were for winter wear.
1928. Pyjamas of a more picturesque nature, and made from patterned materials, indicated a decline of the merely boyish type. Some with jumper top and sleeveless were in floral-patterned crépe de Chine or in check materials. The V neck was popular.
Something more bizarre was the ‘engineer’s overall pyjamas in satin and check georgette; an all-in-one suit buttoning down the front, pocket on the leg, shoulder straps.’
1930. The Empire nightgown with little jacket returned to favour.
1931. The
design of pyjamas underwent an important change. In place of the tunic top a tucked-in blouse, sleeveless, was worn with trousers immensely wide in the leg and with a flat band across the top of the front.
1933. By now the nightdress, following the mode of the dress, was cut on the bias so as to fit the body more closely, the lower part of its skirt expanding to a great width at the hem, often in godet pleats, sweeping the ground. Many were cut in panels and shaped at the waist. Being often of transparent materials such as mousselaine and lace a sleeveless lace bolero was provided. We read that ‘a nightgown of flowered chiffon, with cowl neck, cut on the cross, almost backless, ribbon sash, is a very seducer of stout hearts.’1
Pyjamas, with tucked-in jumper tops and short shoulder sleeves, had much narrower trouser legs.
1936. The V neck or square décolletage, and often almost backless nightdress had, as alternative, the two-piece garment in locknit; we find advertised the ‘one-piece pyjama-nightie with cross-over front to tie behind, in de lustre locknit, 23/6.’
1937. The ‘new coat nightdress, wrapping across and fastened at the waist,’ with V neck, short sleeves and edging of lace, was the chief novelty. Cowl necks and high waists were fashionable. Many were sleeveless.
For travelling ‘nightie-pyjamas with lounge wrapper in shantung, the wrapper zips slantwise’ introduced the zip fastening to nightwear. The wide-legged pyjamas were still in demand rivalling the narrower type.
1938. The Empire waist was fashionable for nightdresses and many continued in the exotic style, such as ‘diaphanous in spirit nightgown, in muted pastel colours, 29/6,’ while ‘for sweet dreams a maize georgette nightgown, pin-tucked with ecru lace shoulders and sleeves, at 95/-’ seems quite suitable.
Others, more conscious perhaps of the approach of war, were turning towards more practical styles.
1939 saw the addition of long coats to nightdresses and to man-tailored pyjamas, both of which now usually had long sleeves. Frequently the pyjama leg was drawn in above the ankle, frilling out below in the mode suggested for defence against gas attack. And as glamour faded from the darkening world the shadow of the siren suit gave the shape of things to come.
* * *
1 The Tailor and Cutter.
2 Shirts with attached collars returned to favour about 1933.
3 The Van Heusen collar, an American invention, came here in 1922. Its fabric is woven on the curve, thus ensuring a better fit; the fold line, instead of being an extra piece of material, is actually woven into the collar, the material itself being multi-ply cloth, giving extra strength. (From information kindly supplied by the editor of The Oulfiter.)
4 The correct wear (1937) for full evening dress:—White shirt with starched front, one or two studs; starched single cuffs, square cut. Plain gold or pearl links and studs.
With dinner jacket, a soft-fronted piquê shirt permissible, with double cuffs and polo collar. Black tie.
For both, the tie in narrow knot with wide ends.
(From information supplied by Messrs. Austin Reed Ltd.)
5 In 1938 ‘jockey shorts’ (manufactured under licence by Lyle & Scott, Ltd.), and also cut-sewn shorts in poplin, appeared.
6 Vogue.
7 The Lady.
8 Vogue.
9 Advertisement.
10 Eve.
11 The Bystander.
EPILOGUE
FROM the foregoing account it will be seen that the history of underclothes has presented a number of curious features, reflecting, sometimes even more clearly than the surface garments, those potent forces which affect social life. In the process of rationalization the undergarments of both sexes have now almost completely discarded evidence of class distinction; what still lingers is the eroticism associated with women’s, which had developed slowly until it became so significant during the period of Victorian prudery.
The first stage of psychological release from the thraldom of an inanimate symbol is the recognition of its essential absurdity; women have long considered men’s underwear as plain prose, but think of their own as poetical. To men those garments may be ‘amusing,’ but not yet ridiculous. Did we not read in the war of a bomber crew’s mascot—a pair of ‘cami-knicks’—symbol of England, home and beauty?
Posterity may wonder how the feminine movement towards nudity, which was such a feature in the late 1920’s and early 1930’s, was regarded by men. Mr. Bernard Shaw expressed the opinion that ‘women have taken a very large step towards nudity, and sex appeal has vanished. Bring back clothes and it would be increased’ (1929).
The average masculine judgment may be culled from The Tailor and Cutter of that year. ‘Never has been seen such an exhibition of feminine limbs as at present. Not all agree that the lifting of the curtain has increased their advantages or added to their charm; better for women if their limbs were wrapped in mystery. The sights that are thrust upon the sons of men are enough to stifle , young love and drive romance shuddering away. It was the practice once for young women only to show the best sides of themselves to their lovers.’
We have to reconcile this masculine view with that of a feminine critic in 1935 who remarked ‘Nudity is the new hue and cry in fashions. Bodies are just bodies now.’
We have refrained from tracing the history of underclothes down to the present day, partly because it is difficult to view recent fashions in their true perspective, and partly because the second World War seemed to close a chapter of this subject. For some ten years fashion was paralysed. Men and women wore whatever they happened to have, or could get or construct from the oddest sources. Men were shorn of their shirt-tails, and for women the term ‘blackout materials for sitting rooms’ often had a hidden meaning.
To-day, when a revolution in underclothes seems imminent, it would be more proper to let some future historian pick up the broken threads. From America comes the new synthetic fabric, nylon, possessing the character of being silk-like, easily washable and drying in an hour or so without the need of ironing. Garments made of it can be washed overnight and are ready to wear next morning. And now there are rumours of yet another American invention, the fabric ‘orlon,’ which has the additional attraction of being waterproof. We understand that both fabrics are likely to become reasonably priced before long, when, presumably, some such material will be the staple for all undergarments of both sexes. Presently we shall all be washing our underwear as easily as we wash our bodies, if indeed we don’t have washable cellulose suits and dresses, and underclothing is dispensed with entirely.
Already we are learning from American ingenuity to abandon useless and obsolete traditions which have controlled the design of underwear for so long, and to require in their place greater comfort and convenience. It seems we must look westward for new ideas, and as Canning did after the Napoleonic wars, call the new world to re-dress the old.
BIBLIOGRAPHY
PRIMARY SOURCES
Medieval miniatures and effigies; contemporary poetry, drama, fiction and diaries, the authors of which are mentioned in the text.
Portraits and prints of the respective periods.
Numerous fashion journals of the nineteenth and twentieth centuries, such as The Beau Monde, La Belle Assemblée, The World of Fashion, The Art of Tying the Cravat (1828), The Whole Art of Dress(1830), The Tailor and Cutter (from 1869 to 1930), The Queen, The Lady, The Gentlewoman, Vogue, Eve, The Lady’s Realm, Harper’s Bazaar, etc.
Catalogues of the wholesale and retail firms mentioned under ‘Acknowledgments.’
The collection of specimens in those museums similarly mentioned.
A number of old newspapers.
SECONDARY SOURCES
The works of Joseph Strutt, Dress and Habits of the English; Manners and Customs of the English (1796).
Fairholt’s Costume in England (4th ed., 1909).
Shaw’s Dresses of the Middle Ages (1843).
Planché’s Encyclopaedia of Costume (1876).
Ernest Léoty’s Le Corset (c. 1890).
Leloir’s Histoire du Costume (1935 et seq.).
Adrien Harmand’s Jeanne d’ Arc, ses Costumes, son Armure (Paris, 1929).
Linthicum’s Costume in Elizabethan Drama (1936). (To the two last-mentioned we are specially indebted.)
Eva Lundquist’s La Mode et son Vocabulaire (GÖteborg, 1950).
Katherine Esdaile’s The Life and Works of Louis François Roubiliac(1928).
James Laver’s Taste and Fashion (1937).
Wright’s Domestic Manners and Sentiment in the Middle Ages (1862) and History of Caricature in Art (1865).
The works of John Ashton and W. C. Sydney on the social life of the seventeenth, eighteenth, and nineteenth centuries (1880 to 1890).
Numerous Memoirs and Lives.
APPENDIX
THE STURE SHIRTS
These famous shirts, four in number, now preserved at Uppsala Cathedral, Sweden, formed part of the clothing of the Sture family, Swedish aristocrats murdered in 1567.
The material is two-thread linen twill; the shirts consist of front-piece and back-piece joined across the shoulders and at the sides by seams. Two have high attached collars ornamented along the top with a plaited frill; the sleeves of one have cuffs similarly ornamented. Two have no collars or cuffs, but instead a broad band in the low neck-opening and at the wrist. These may possibly have been used as nightshirts.
FIG. 119. A STURE SHIRT, 1567
‘The linen undergarment prior to about 1350 did not differ in cut from the upper garment, the tunic. When the tunic during the latter part of the fourteenth century was opened in front and provided with a collar, it is probable that the undergarment kept the shape of the old tunic. At the end of the fifteenth century it became fashionable with jackets cut low in front to show the shirt with its many folds and adornments. . . . At the close of the fifteenth century the sleeves had been drawn up towards the low neck and the slit had been moved to the side of the neck along the seam between the front piece and the sleeve. During the earlier half of the sixteenth century the low neck disappears, and high collars again come into fashion. It is in this phase of the evolution of the shirt that we have to place the Sture shirts, Nos. 1 and 2. They represent in relation to the medieval forms a new type with shoulder seam and narrow, reinforcing crosspiece.’