1920s : Fashions of a Roaring Decade

[DosViolines]

Cherry Red Velvet and Sable Evening Coat
1920s
Cocoon shape, with low dolman sleeves, wide square fur collar, labeled: Bergdorf Goodman.

doylenewyork

 

[DosViolines]

Two Lame Evening Wraps
1920s
The first a cherry red silk jacket with gold dragon and chrysanthemum pattern, sable trim, the second a cardigan coat with low button closure, woven with Egyptian imagery in multicolors on black ground.

doylenewyork

 

[DosViolines]

Light Blue Pagoda Motif Embroidered Coat
1920s
Cardigan style, with long necktie, with allover pattern of pagodas and ornamental trees worked in white, labeled: Pohoomull Bros./Winter Palace Buildings/Luxor/ Egypt.

doylenewyork

 

[DosViolines]

Midnight Blue Fur Lined Embroidered Coat
Chinese, 1920s
Knee length, fashioned with large shawl fur collar and cuffs, with frog closures, side slits, embroidered in blue tones with flowers and traditional wave and mountain border, some Peking knot work.

doylenewyork

 

[DosViolines]

Cerulean Blue Fur Lined Embroidered Evening Coat
Chinese, 1920s
Above the knee length, fashioned with wide fur shawl collar and cuffs, embroidered in pastel tones with flowers, white cuffs with fine peacock and butterfly motifs.

doylenewyork

 

[DosViolines]

An amazing 1920's opera coat I believe the designer, who did a superb job, was French. The original artwork of the textile suggests a heraldry fleur de lis style pattern in a variety of shapes. Possibly Liberty & Co or Sonia Delaunay who in the 1920's created a range of designs including textiles and clothing. She adopted her vivid abstract paintings for her textile designs which were displayed in her coats and dresses. The original artwork is amazing; colors of pink, orange, turquoise blue and gold that are extremely rich and vibrant as the day it was made. The fabric is a woven silk possibly with a very very lightweight wool blend..the hint of metallic throughout the design makes the piece pop and creates an aura of uniqueness. The panne velvet is also quite amazing. Very very rich plush teal blue velvet. The collar and cuffs are ruched and padded for body and the collar can be raised up at neckline to be even more distinct. The lining throughout coat is the matching teal blue panne velvet.

marilynglass.com

 

[DosViolines]

Evening gown. Attributed to Jean Patou. Circa 1926.

Evening gown of silk tulle embroidered overall with antiqued silver and gold sequins and gold and silver beads in a custom designed geometric ovoid motif graduating in size as it descends the body. The sleeveless tubular body expands into a flared skirt as the lozenges increase in scale forming a zigzag hemline with the lower part of the lowest row of ovoids.

This is a great example of art deco clothing using a simple pure form decorated with geometric shapes which enhance and emphasize the sculptural quality of the dress. In addition, the increasing size of the ovoids in the surface pattern are integral to the construction. Whereas the great Parisian couturiers of the 1920s all made great deco dresses with dramatic geometric surface patterns, I only know of examples by Vionnet and Patou which integrate the surface pattern with the construction. Vionnet’s examples are mathematical but Patou’s seem to be the result of careful trial and error. In this case, the size of the wearer determined the number and size of lozenges at the bust line. The hips indicated their increase in scale. The increase in scale as the skirt flaired allowed for more flexibility. This relationship of pattern to size can be seen in the great black and green Patou owned by KCI and illustrated in their catalogue Masterpieces from the collection of the Kyoto Costume Institute.

Another technical feature of this dress which is highly unusual and may help document an attribution is the changing color of the tulle ground. Behind the ovoids, the tulle is a natural cotton ? silk? However, the ground between the ovoids has been painted black.

marilynglass.com

 

[DosViolines]

An important and extraordinary work of art circa 1925 by Madame Babani, a contemporary of both Mariano Fortuny and Maria Gallenga. Babani was most known for her embroidered Asian influenced themes and designs which are prominently featured in this ensemble. It is quite rare to come across a Babani embroidered textile of this magnitude and as a matching ensemble. The elaborate rare embroidery of this artist is most reflected in these pieces and for that reason makes them important pieces for collectors or museums. They are also very wearable and make a unique and entrance making evening ensemble. Both pieces are great examples of Japonism in this circa 1925 2-piece work of art.

As a disciple of Fortuny, Madame Babani maintained a prominent Paris shop in the 1920's. Her garments have been compared to Fortuny's as she too designed tunics, jackets dresses, etc. What differentiated her from Fortuny is that she utilized brighter embroidered fabrics and favored the Japanese influence. This is prominently and visibly displayed in this extraordinary Babani embroidered dress and matching coat.

1920's chemise style dress fashioned of turquoise, purple and silver lame in a Japanese inspired floral motif hand embroidered with multi-colored silk bouquets. The closures consist of burnished silver tassels. Includes matching belt which can be worn at the waist in the 1920's fashion of the period or not.

This dress was exhibited in The Shapes of Fashion Exhibition sponsored by The Fashion Foundation of Japan 1993.

It's matching full length hand embroidered coat is spectacular! Fashioned in identical fabric to that of the dress. Loose swing style coat with standup collar and slightly wide sleeves. Coat is also slightly padded for warmth.

marilynglass.com

 

[DosViolines]

Babani metallic brocaded chiffon evening jacket, 1920s

This exquisite Babani evening jacket has the same classic T shape, borrowed from historical ethnic clothing, found in the stenciled velvet jacket by Fortuny. Babani's use of beaded borders to weight the delicate chiffon is another Fortuny technique. Babani's work often exhibits that mix of invention and historical borrowing that constitutes the life of any art form.

The intricate design of the jacket has an exotic, Eastern flavor often found in early Deco art.

The jacket is fashioned from pale gray silk chiffon that is printed with a watery blue pattern and brocaded with metallic gold blossoms. The sinuous motif has that slightly exotic quality characteristic of Babani's designs.

The edges are weighted with faceted bronze metal beads. The Babani label is strategically placed on the back of one of the blossoms so it will not show through the sheer fabric. The label reads "Babani/ 98 Bd Haussmann/Paris."

vintagetextile

 

[lotusgreen]

i love babani's stuff. that embroidered one with the aqua stripes is to swoon over.

 

[DosViolines]

A camel felted-wool coat with beaver-lamb collar, circa 1928, unlabelled, with interesting curved, tiered panels to the hem and cuffs, single button to fasten, lined in striped satin

kerrytaylorauctions

 

[lotusgreen]

wow--that's beautiful

 

[DosViolines]

A black georgette cocktail dress, late 1920s, the waist and hips adorned with diamante, matching scarf

kerrytaylorauctions

 

[DosViolines]

Beaded cotton tulle overdress, 1920s

The square novelty beads of faceted black plastic add three dimensional texture as well as sparkle to the design.

The scrolling borders of black glass beads and sequins are the perfect complement to the square grid of novelty beads, creating a lively tension in the design. The dress closes on each side with a hook.

vintagetextile

 

[DosViolines]

Hand-embroidered cotton dress, 1920s

Fashioned from sheer cotton batiste, the dress will need a slip. It is lavishly embellished with raised embroidery of padded satin stitch. Some of the leaves are filled in with French knots. The lace panels, front hem, and neckline are edged with bands of crocheted lace.

The cut is loose and straight. The relaxed fit is comfortable and easy to wear. The fullness is pulled in with the sash, a modern replacement. The sash passes through belt loops on each side. The dress closes in front with small snaps.

vintagetextile

 

[DosViolines]

Beaded satin flapper dress, mid 1920s

The unlined dress is fashioned from black satin. The body of the dress has wide stripes of amber-colored glass bugle beads. The gold, orange, and burgundy chenille flowers on the brilliant borders are accented with small rose, ivory, bronze, and amber glass beads. The dress slips over the head with no closures.

vintagetextile

 

[seanutbutter]

Photographed by Edward Steichen, 1920s.

tablixdfh on Flickr.com

 

[seanutbutter]

Bath costume contest. June 25, 1921.

shorpy.com

 

[seanutbutter]

Winners of a beauty contest at Washington's Tidal Bathing Beach. June 17, 1922.

shorpy.com

 

[Josephine]

I am so overwhelmed. This is the most amazing thread. All these pictures are so beautiful, so inspiring. I've been drooling over every page of this thread.