1920s : Fashions of a Roaring Decade

[lotusgreen]

this is truly an astonishing collection. so much beauty in one place. thank you so much!

 

[SomethingElse]

French sequined flapper dress, c. 1920s. Flapper-style cocktail dress with overall hand-beading in shades of turquoise and blue, web-like bodice and two-tier skirt with scalloped hem.

ritchies.com

 

[SomethingElse]

Custom made cocktail dress, c. 1920s. Black silk dress with clear rhinestone trim, large elaborately hand-beaded peacock running up one side of the skirt.

ritchies.com

 

[SomethingElse]

Barbara Lee, France, evening gown, c. 1920s. With capped sleeves and uneven hemline, bronze-coloured ground with jungle print in yellow, tan, and blue, with overall hand-beaded detailing and silver beaded collar.

ritchies.com

 

[DosViolines]

French beaded velvet evening coat, mid 1920s

The visually arresting coat is fashioned from champagne silk velvet printed with lush floral bouquets. The glorious roses radiate a confident glamour. The bouquets are hand embroidered with metallic thread and rows of silver-lined crystal beads. The coat is lined with matching silk.

The label reads "Harry Angelo Company/Paris/Made in France."

vintagetextile

 

[DosViolines]

Beaded metallic lace evening dress, c.1920

This magnificent dress is a treasure of early 20th century textile art. The under slip is fashioned from champagne colored metallic lamé bordered at the top with silver metallic lace and at the bottom with a petal hem. Wide bands of spring green chiffon on the bodice and skirt peak through the outer layer of the dress. The petal hem is lined with the same green chiffon.

The outer layer of the skirt is fashioned from the most beautiful lace I have seen in a garment from this period. The lace combines lilac silk flowers outlined with metallic thread with areas of metallic silver embellished with ivory glass beads. The matching lilac silk chiffon bodice is embellished with clear crystal beads. I love the padded roses and leaves around the hipline—reminiscent of Aesthetic Dress.

The dress has a built-in ivory silk under bodice with the penciled number "107-38-104" along the hem. Each layer of the dress closes separately on the side with hooks and snaps. The skirt is open to the waist in front, revealing the under slip as the wearer moves.

vintagetextile

 

[DosViolines]

More images of dress in post #206:

vintagetextile

 

[DosViolines]

Hand-embroidered lace tea dress, c. 1920

The dress retains its winsome beauty from 90 years ago when first worn to a garden party. Lavish embroidered floral designs of padded satin stitch, French knots, and bullion coils are framed with inserts of handmade filet lace. The drop waist is accented with a band of crystal beads and faux pearls above a flounce of handmade Irish crochet lace

And there's more: central beaded medallions, decorative ivory satin sleeve bands, and beaded fringe. I love the blue crystal bead on the center-front beaded tassel. All the elements combine to produce an harmonious whole, a superb monochromatic design.

While the surface decoration is elaborate, the cut of the dress is simple. The classic T-shape slips over the head; the sleeves are cut-in-one with the bodice; and the skirt has slits both at the center-front and center-back.

vintagetextile

 

[DosViolines]

More images of dress in post #208:

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[DosViolines]

Beaded chiffon dress, 1920s

It is a rare treat to find a long-sleeved beaded dress from the 1920s in such excellent condition. All too often the sleeves have been removed due to underarm damage.

This stunning dress, fashioned from black silk chiffon, features finely shaped borders of faceted crystal beads around the yoke, cummerbund, and hem. I love the eye catching cobalt blue beads. The ties on the sides of the drop waist can be used to adjust the size.

The beading is in pristine condition! The semi-abstract design is inspired. On the bodice and the skirt, two parallel rows of elongated vertical ovals bracket the graphic centerpiece of the design, so artfully sketched in beads. Before the beauty of costume art, intellection yields discreetly to intuition.

vintagetextile

 

[DosViolines]

Beaded silk crepe flapper dress, 1920s

The dress is almost totally covered in beads! The beading is a work of costume art: the monochromatic design is elegant and subtle. (Early 20th century faceted glass beads do not have the sharp edges or garish colors found in contemporary beads.)

A combination of clear crystal beads and jet black beads against a brown silk ground was used (3rd picture from the bottom). The jagged geometric forms (black beads)—suggestive of lightening or energy—surround a central hatched circle. Radiating out from the circle are schematic arrows (clear crystal beads). The design is both exciting and subtle.

vintagetextile

 

[DosViolines]

Babani lamé flapper dress, c.1925

Madame Babani opened her Paris shop in 1919. She carried decorative items and imported textiles from the Orient as well as designs from Liberty of London and Mariano Fortuny. The influence of Fortuny can be seen in many of her creations.

Babani's work often exhibits that mix of invention and historical borrowing that constitutes the life of any art form. Her palette was brighter than that of Fortuny. She used strong colors, like gold, that jumped out from the background.

In her color palette, she was more au courant with the new Art Deco style than was Fortuny. Even though the color in this dress has darkened and softened with age, it is still an exemplar of the exotic hues with strong contrast favored by Babani.

The simple shift dress features front and back panels of purple satin brocaded with a flame pattern of metallic gold. The side panels and hem border are gold lamé. The panels are joined together with decorative, hand-embroidered, blue blanket stitching.

The label reads "Babani/98 be Haussmann/Paris"

vintagetextile

 

[DosViolines]

Metallic brocaded silk chiffon/velvet dress, c.1925

This is a distinctive period textile. The upper part of the dress is fashioned from black silk chiffon with alternating bands of printed daisies and gold metallic brocaded daisies.

The bias-cut skirt has the soft drape that can be done only with silk velvet. The dress is beautifully finished with bias self-piping and small black velvet buttons. The dress slips over the head in an easy-to-wear style.

vintagetextile

 

[DosViolines]

Metallic brocaded chiffon evening shawl/cape, 1920s

The shawl/wrap is fashioned from red silk chiffon brocaded with both silver and bronze metallic flowers. The warm pomegranate red and the burnished glow of the metallic fibers make a spectacular combination. The faggoted seams and outside edges are embroidered with metallic thread. The third picture from the bottom displays the harmoniously composed groupings of delicate flowers.

This exquisite example of textile art began life as a shawl. The grosgrain ribbon straps that turned it into an evening cape are loosely tacked in place by hand. You can wear it as a cape or turn it back into a shawl by snipping the threads that attach the straps; or wear the shawl seductively over the shoulder.

The versatility of a large shawl was proven by the greatest ballerina of all time, Anna Pavlova. She was an idol in the fashion world in Paris before World War I. She would drape a large shawl "in the Spanish manner. They took the place of dresses for her. Her way of draping a shawl became very popular, and many imitated her," according to Nina Kirsanova, who danced with Pavlova.

vintagetextile

 

[DosViolines]

Beaded cotton flapper dress, c.1925

Dresses from the 1920s that were beaded on cotton, more durable and wearable than silk, are difficult to find. They are ideal for the collector who wants to wear her treasures.

I love the pristine simplicity of the monotone design. The dress is fashioned from white cotton voile that is totally covered with glass beads. It slips over the head in an easy-to-wear style.

Overlaid with silver-lined crystal beads and clear crystal beads, the body of the dress is accented with wide decorative bands of white glass beads. The pointed skirt hem echoes the decorative shapes in the beading pattern. This is the subtle artistry of the best Deco design.

vintagetextile

 

[Hanne]

Gorgeous! Whenever I see pieces like these I can't help but think of how revolutionary the twenties were.. such a dress transformation

Thank you for posting so diligently Dos

 

[DosViolines]

My pleasure Hanne

Hand-embroidered batiste dress, c.1924

Completely stitched by hand, the dress is probably French. It is fashioned from sheer white cotton batiste and finely hand embroidered with padded satin stitch, seeding, and fancy cutwork fill. The skirt has many rows of flirty cotton tulle ruffles on the sides. Bands of handmade Valenciennes lace and rows of pintucks complete the decoration.

The centerpiece of the design is the magnificent embroidery of the blooming rose (third picture from the bottom). Even the daisies dancing in a circle on the bodice are eclipsed by the rose, which lends a mesmerizing beauty to this lovely dress.

vintagetextile

 

[DosViolines]

Silk embroidered lace flapper dress, c.1925

The dress consists of a black outer shell over a pink silk crepe slip.The black outer shell features alternating panels of embroidered silk lace and silk chiffon. The bias-cut chiffon skirt panels flare out when you are dancing.

The two layers are attached at the hipline with silk ribbon flowers. I love the bronzed metallic centers and edging on the flowers. Framed against the lace, they provide a final winsome touch, adding a naive charm to the sophisticated black embroidered lace.

The label reads "Mandel Brothers/Chicago."

vintagetextile

 

[DosViolines]

Hand-crocheted silk dress, c.1925

This sensational flapper dress combines the best of antique and modern: the unstructured T-shirt shape could be contemporary. The fringed hem is quintessential flapper.

The dress was originally worn over a silk slip, either black or colored. You can wear the dress with a slip or a body stocking; or pair the dress with leggings. The dress is hand crocheted with black silk yarn and slips over the head with no closure.

vintagetextile

 

[DosViolines]

Beaded bronze lamé overdress, c.1923

The tabard-style overdress slips over the head. Attached to one side, the cummerbund wraps around and snaps in place. One side of the tabard is completely open; the other side is open to the cummerbund. Tabard refers to the tunic that a knight wore over his armor. The tabard-style dress was an important transitional style from the late Teens to the early 1920s.

The overdress is decorated with crystal beads in shades of red, blue, rose, melon, and silver. The subtle color palette contrasts the pastel beading in the central design with the outline of cobalt blue beading and russet brown metallic fabric.

vintagetextile