0 Robe de Style: The Alternative Silhouette of the Roaring Twenties

Robe de Soir de Worth by George Barbier
June, 1921, La Gazette du Bon Ton

by Abigail Cucolo
© Fountainhead Antique Auto Museum

With the recent release of Baz Lurhmann’s cinematic adaptation of F. Scott Fitzgerald’s renowned novel, The Great Gatsby, there will inevitably be a surge of interest in the fashion of the Roaring Twenties. People will once again be enamored with the fringes, bobs, and beaded, boyish silhouettes of the vivacious Flapper. Because, of course, when most think of the fashion of the 1920s, the Flapper is the first (if not only) image that comes to mind. Her look was dynamic and flashy, but, for most, was work to achieve. Women, who just years before were sculpting their bodies into an über-feminine hourglass, hadn’t suddenly evolved to skip puberty simply because fashion called for it, and not every lady could, or wanted to, mold their girlish curves to fit the flat chest and narrow hips of the Flapper figure. For those more romantic at heart (or organic in physique), an alternative design was consistently present throughout the 20s in the form of the Robe de Style (pronounced steel). Influenced by the sumptuous style of the 18^th century, the Robe de Style was primarily an evening silhouette whose most distinctive feature was a full, bouffant skirt that jutted out at the hips like panniers. Also referred to as the “picture dress,” Robe de Styles were beloved for countering the boyish shifts by evoking nostalgic images of a feminine shepherdess.

Illustration by Erté 

Ranging in length from just below the knee to ankle, the gowns were typically made from luxurious fabrics like silk taffeta, organdy, velvet, chiffon, or satin. More subdued fullness in the skirt could be created through gathering, pleating, and shirring; however, many styles still required support from actual pannier-like underpinnings (wire basket-like supports). During the early 1920s, the waist placement was natural, with a close-fitting, sleeved bodice having a scooped or boat neckline, but as the decade progressed, variations of the Robe de Style with a sleeveless, deep-V neck bodice and dropped waistline appeared. Though a more modest silhouette than that seen on the Flapper, it was still a brainchild of the Roaring Twenties. In keeping with the flash and luxury idolized by Jazz Age fashion, the gowns could be lavishly trimmed in glitzy beads, sequins, lamé, diamante, and paste.

Here at the Fountainhead Antique Auto Museum, we are fortunate enough to have a Robe de Style in the costume collection and on display. A sweet little number, it is made from black silk tissue taffeta trimmed with ivory embroidered chiffon at the collar and sleeves. The skirt, accented with shirring, has fullness supported by built-in wire panniers, creating the characteristic shape of the Robe de Style. To complete the charm, the waistband culminates in a large bow at back, and is decorated at the front with a colorful jewel toned velvet floral appliqué.

The Robe de Style was a stark contrast to the straight sheath of the popular style; a unique substitute that was beloved by designers Jeanne Lanvin and Lucile, and often featured by iconic illustrators Erté and George Barbier. While it may have been considered the “safe” choice by some fashion elite, it was nevertheless an elegant classic and perfect Dress of Style. 

Detail: Robe de Style: The Alternative Silhouette of the Roaring Twenties

0 Politics and Fashion

by Abigail Cucolo
© Fountainhead Antique Auto Museum

Western and non-western cultures alike exhibit one of the most basic motivations of dress: display of status. Historically, sumptuary laws were enacted to visually distinguish the upper levels of society from the socially and financially inferior. During the 14th century, for example, poulaines became so fashionable and extreme (the shoe points could extend to 12 inches or more) that Edward IV of England made a decree limiting them to the nobility, and knights were not permitted to have points exceeding two inches, lest they fancy themselves part of the aristocracy (Simonson, 1944, p. 68). The sumptuary laws of Medieval and Renaissance Europe were plausible because of the rigid class system of the monarchies; they would never have been enacted in an egalitarian society. Fashion visually interprets the ‘vogue political philosophy’ of a time and place- the restricting style of Victorian modesty, the Greco-Roman silhouettes of Neo-Classicism, the uniformity of Soviet Russia (Donald, 2002). Likewise for societies with a religious state: Islamic republics have women covered in very conservative clothing, and in Amish society, where pride and vanity are sinful, the costume is modest and plain.

Before the end of the 18th century, the purpose of dress was to make as obvious as possible the differences in rank, lineage, and wealth; however, after the spread of democratic ideals and republican governments, the effort became to minimize them (Simonson, 1944). Men’s fashion, originally very flamboyant, adopted a minimal, somber style because of the new “no frills” attitude that came with the period (Simonson, 1944, p. 70). This ‘democratic simplification’ was mirrored in women’s fashion when they achieved more equality (Simonson, 1944). The simple, boyish silhouettes of the 1920s and 1960s coincide with women’s suffrage and civil rights movements. The ‘vogue philosophy’ can also explain the rise of popularity in lower class clothing items because of the French and American Revolutions, when opposition to the aristocracy was admirable- knee breeches became associated with tyranny so they grew more and more obsolete.

Reactions to political subjugation often manifest in costume. During the 1960s, governments from East and Central Africa reacted to colonialism through the prohibition/denunciation of what they saw as influence of western culture, issuing directives to “Cover-Up” and “Lower Hemlines or Else” (Wipper, 1972, p. 329). Miniskirts were blamed for widespread rioting in Ethiopia, and Zambia’s reaction to its recent independence resulted in its president ruling that skirts be at least three inches below the knee and women were not to use lipstick, straighten their hair, paint their fingernails, or wear trousers (Wipper, 1972, p. 334). Though a republic, Zambia’s fresh political upheaval created an autocratic control of the adornment of its citizens.

Ethiopia, however, was a monarchy soon to be overthrown by a socialist military regime, who saw fashion as “products of western capitalism” (Wipper, 1972, p.334). Countries with strong socialist and communist governments tend to result in homogenized clothing, reflecting the extreme equality and uniformity proposed by the ideology. Those who attempt to follow fashion lack dignity, as it is the absence of indulgent adornment that is the “politically correct” way of dressing (Ip, 2003, p. 333). The irony that comes with the philosophy “freedom from adornment = freedom from oppression” (Ip, 2003, p. 334), is that the ordination of people’s clothing through law or coercion is oppression. A person’s individual identity is erased; they become one of the masses- which, of course, is perfectly representative of the ideology.

Sarah Palin in Valentino

In the democratic republic of the United States, where freedom is highly valued, uniformity is not enforced, yet equality is exhibited in similarities between the clothing silhouette of the leaders and the “common” people. The President of the United States and the small town business manager will both dress in a suit. In the African Ashanti tribe, on the other hand, a person may be killed if he wears a garment like the king (Tortura and Eubank, 2005, p. 4). It is literally ‘fashion suicide.’ The custom clearly reflects the value of the absolute power of the monarch. By wearing the style of the king, the perpetrator has the gall to assume king’s identity and may be seen as a pretender to the throne. Dressing above class in a totalitarian society sends the message that you are attempting to take on the authority of the elite. In a democracy, it becomes the opposite--leaders could commit political suicide by appearing too elite. Politicians hold focus groups and hire consultants to tell them what tie color represents the best values or what hair style makes them most affable--it is detrimental to look too pretentious or privileged. There was significant controversy in 2008, for example, when it was reported that $150,000 had been spent on vice-presidential candidate Sarah Palin’s wardrobe. Because of America’s strong middle class, value of equality, and message of opportunity for every level of society, politicians don’t want to alienate the blue collar voter. They want to prove they are a true representative of the people by being relatable as one of the people, and the fastest way to do that is through clothing.

So while they are now more subtle, the visual cues that express the political philosophy of a culture, western or non western, monarchy or democracy, are still present today and exhibited across the globe.


Works Cited
Donald, D. (2002). Followers of fashion: graphic satires from the Georgian period. London: National Touring Exhibitions.

Ip, H. (2003). Fashioning appearances: feminine beauty in chinese communist revolutionary culture. Modern china. July. Vol. 29 No. 3. pp. 329-361.

Simonson, L. (1944). Fashion and democracy. The metropolitan museum of art bulletin. November. Vol. 3 No. 3. pp. 65-72.

Tortora, P. and Eubank, K. (2005). Survey of historic costume: a history of western dress. 4th ed. New York: Fairchild Publications, Inc.

Detail: Politics and Fashion

0 That's a Wrap: Coats from the 1920s

by Nancy DeWitt
© Fountainhead Antique Auto Museum

Photo courtesy of Candy Waugaman

It's hard to not think about coats during winter in Alaska. For those who like to play outside even when the temperature plunges to -20 F and below, looking fashionable is something most of us don't attempt (although an insulated Skhoop skirt helps). I am consistently amazed at how determined Fairbanks women were to look stylish 100 years ago, as illustrated in the photo at right. I have a hard time believing that their heads stayed warm under the trendy hats of the day, especially when you consider that they were about to embark on an 8-day, open sleigh ride to Valdez!

Not surprisingly, many old Alaskan photos show people clad in fur coats. By the 1920s, full-length raccoon coats (like our example at left) had become quite popular in the States, especially among male college students and automobilists of both sexes. Of course, Alaskan pioneers had already been wearing coats made from raccoon, beaver, bear and wolf out of necessity for years (and Alaska Natives for centuries before that).

Many fashionable coats of the 1920s had large shawl collars and enormous cuffs trimmed with fur from fox, sable, ermine, mink, chinchilla, Persian lamb or even monkey. As the decade progressed, women's coat styles became less fitted, with belts dropping from the natural waist to the hips, and then disappearing altogether. A common style was the cocoon coat, which fit loosely on top and narrowed at or near the knees.

Elegant wraps, especially the oriental-style evening coats popularized by designer Paul Poiret, were a favorite among flappers. Few had snaps, hooks or buttons, as they were meant to be worn open. Common fabrics included silk, velvet, satin, lamé, and gold and silver brocades. Many had large, kimono sleeves and were decorated with embroidery, tassels, metallic braids, fur or even jewel beetles, like this coat we have on display. The sleeves and hem on the reversible lamé coat at left are trimmed with what looks like monkey fur, but is actually tufted silk. Does anyone else think this coat could be a Poiret creation?

Another common cover for evening wear was a lightweight wrap, cape or shawl made of silk, chiffon, rayon or tulle. Many featured beautiful embroidery or beading in floral, Art Deco or Egyptian motifs--the latter attributed to the public's fascination with the discovery of King Tut's tomb in 1922. Fringe or macramé  was common on the lower edge of shawls.

We hope you'll visit and check out the lovely historic outerwear we have on display. Our fashion curator frequently puts new pieces out on display, so you never know what treasures you might encounter!

Detail: That's a Wrap: Coats from the 1920s

0 Vintage Treads and Threads

by Nancy DeWitt
© Fountainhead Antique Auto Museum

Not a week goes by that I don't encounter a recent museum visitor or read a review that expresses shock at the extent of our collections. It's not surprising that many expect to find no more than a few Model Ts and other old Fords in a Fairbanks car museum, and we are thoroughly entertained by the stunned looks on visitors' faces when they walk through the door and see a huge gallery full of ~60 spectacular automobiles.

I am even more delighted by the women who tell me they didn't want to come to our facility, but then enthusiastically admit that the cars and clothing blew them away. In the past year our historic fashion collection has grown to rival our assemblage of automobiles. In fact, we now have over 100 costumes on display, making ours the largest permanent clothing exhibit in Alaska, if not on the West Coast.

 
Our historic fashion curator, Barb Cerny, has assembled a fabulous array of gowns, suits, dresses, coats, hats and accessories spanning 150 years. While the focus is on the same time periods represented by our cars, several garments date back to the 1880s. From custom gowns to ready-to-wear day dresses, there are even a few treasures by well-known designers such as Mariano Fortuny, Jean Patou and Callot Soeurs on display. Some pieces are from Alaska pioneers, showing that the women who arrived here during Fairbanks' rough frontier days were just as interested in fashion as their contemporaries to the south.

A walk through the museum vividly illustrates how fashion changed from the Victorian's tightly corseted, restrictive clothing to the looser sophistication of the Roaring 20s and glamorous 1930s--just as automobiles evolved from boxy carriage shapes to sleek, stylized designs. My favorite pieces are from the Belle Époche and Art Deco periods, especially the Titanic Era gowns and beaded flapper dresses. Which are your favorites?

 

This winter we will be offering monthly curator talks that will include behind-the-scenes looks at the fashion collection and several "Under the Hood" tours of the automobiles. Watch our Facebook page for details. And if you need more convincing that you should visit our museum, check out some of our TripAdvisor comments (and please add yours if you have already visited).

Detail: Vintage Treads and Threads

0 Edwardian Motoring Clothing

by Nancy DeWitt
Fountainhead Antique Auto Museum

When automobiles were a novelty during their earliest stages of development, drivers and passengers wore whatever they had available, usually the same attire they chose for riding in horse-drawn carriages. But as automobiles became more common after the turn of the 20th Century, specialized clothing and other motoring gear became essential to protect oneself from clouds of dust, flying rocks, and mud and oil splatters. The first cars were “open,” having no windscreens, door or side windows. Even those riding in automobiles with windshields and tops were vulnerable to dust and oil splatters.

To protect their clothes, both men and women wore loose topcoats of leather, or dusters. Dusters ranged from simple linen garments to silk coats accented with pretty trimming, but unlined linen dusters with no trim were the easiest to wash. Most had large pockets for maps, gloves, bandanas and other travel necessities. Some men wore dusters made of canvas or oilskin to protect their clothes while changing flat tires and making on-the-spot repairs. You can see several styles of duster on display in our museum.

A 1909 Sears Catalog lists a simple “Duster of Linene in fine-quality Chambray in gun-metal gray” for $2.98. For inclement weather, a lady could purchase an automobile coat made from rubberized mohair for $8.98, while one of rubberized silk cost $14.98. Sounds cheap, but these would cost you around $75, $225 and $370, respectively, in today’s dollars.

The fashionably large hats of the time proved a challenge for female automobilists. Large scarves could be wrapped over a hat to hold it in place, but narrower hats were more practical. Automobile bonnets also came into fashion and were especially favored by women daring enough to drive their own car. Whatever the style choice, many wore gauze veils to protect their faces from dirt and oil. 

Male motorists favored caps, goggles and gauntlet gloves, as modeled here by museum manager Willy Vinton. Because of the need for frequent tire changes and repairs, men often wore breeches with boots or leather leggings, rather than trousers. 

In the winter, fur coats were popular among both male and female motorists, supplemented by lap robes, fur muffs and foot warmers in open cars. Today, it is not unusual to see someone without a coat or hat driving in Fairbanks at -40º. Times have changed! 

Detail: Edwardian Motoring Clothing

0 Lingerie Dresses of the Edwardian Era

by Nancy DeWitt
© Fountainhead Antique Auto Museum

Say the word "lingerie dress" and it typically conjures up sexy images from the boudoir, not the streets of Fairbanks in 1910. At the tail end of the Victorian Era a new style of summer dress appeared--a pure white, lace-trimmed gown known as the lingerie dress. As their name implied, these romantic dresses resembled the "unmentionables" that had been worn as undergarments by Victorian ladies. Although a white dress once symbolized wealth, a farmer’s wife was as likely to wear a lingerie dress as was a high-society lady. This style of dress would remain popular through the Edwardian Era until around 1915.

Lingerie dresses were often elaborately trimmed, with lace inserts, appliqués, eyelets, hand-embroidery and ruffles. Yet, they were easy to make, thanks to readily available patterns, machine-constructed laces and sewing machines. Women could sew a dress, stitch the lace in place, and then simply cut away the fabric beneath it. Lingerie dresses could also be bought through mail-order catalogs, and they were among the first mass-produced dresses. At the turn of the century, more than half of the dresses offered in the Sears Roebuck’s catalog were made of white, lace-trimmed cloth ranging in price from $4.75 to $11. 

Surprisingly, lingerie dresses were popular with Alaska’s Gold-Rush women, even in the mining camps. Unlike the unwashable silk, velvet, satin and wool dresses of the time, lingerie dresses were usually fashioned from cotton, making them easy to wash at home. Alaska women probably used laundry bluing to keep their dresses white. At right is a photo of Fairbanks ladies at a garden party, probably taken around 1912 (photo courtesy of Candy Waugaman). Several are wearing lingerie dresses, which must have felt comfortable during the warm summer days here.

You can see several lingerie dresses on display in our museum's historic fashion collection. As it has become popular for some brides to wear antique wedding gowns, it is easy to see why Edwardian lingerie dresses are a popular choice for many of them.  To view a video of our Lingerie Dress display, please visit our - Fountainhead Museum YouTube Channel.

Reference - vintageconenction.net

Detail: Lingerie Dresses of the Edwardian Era

0 Beetle Mania

by Nancy DeWitt

We just put one of our most unusual fashion pieces on display. This opera coat from around 1925 is decorated with wing cases from beetles! Like fur and feathers, beetles have been used as natural jewels and decorative objects for centuries.

The use of jewel beetles for personal adornment occurred throughout the world in places such as India, Thailand, Australia, Central America, the West Indies and ancient Egypt. Women in Victorian England especially loved to wear dresses, shawls, and fans embellished with glittering touches of the “exotic” from the Empire's far-flung lands. In addition to adorning their hats with beautiful feathers and even whole birds from other countries, many women wore jewelry that incorporated entire beetle bodies. Victorian ladies on the cutting edge of fashion even wore live jewel beetles tethered to their clothing by tiny golden chains, or decorated their hairdos with live fireflies!

A beetle's wing cases protect their fragile flight wings and also provided aerodynamic lift when held open. Called elytra, these were harvested by the millions in the hardwood forests of Burma where the beetles swarmed, mated and then died.

The brilliant metallic coloration you see in the elytra sewn onto the coat is not from pigment, but instead is caused by the microscopic texture of the exoskeleton. Multiple layers of cuticle in the elytra have minute spacings that allow light waves to reinforce, weaken, or eliminate each other. This phenomenon is called interference. The iridescence of the beetle wings is not easily replicated, and their seemingly magical coloration explains our centuries-old fascination with this most unusual natural jewel.

The most famous beetle-adorned garment is the recently restored dress that was worn by actress Ellen Terry in the 1888 production of Macbeth. Two more examples can be seen here, along with Charlize Theron's dress in "Snow White and the Huntsman". You can see our cloak on display next to our 1921 Heine-Velox.

Detail: Beetle Mania

0 Titanic Era Fashion

by Nancy DeWitt

Fascination with the glamour and tragedy of the RMS Titanic reached a crescendo this past week with the 100th anniversary of the ship's fateful voyage. It was hard to miss news stories about Titanic-themed museum exhibitions, memorial cruises and the release of the 3-D version of the blockbuster movie Titanic. A number of exhibits at other museums are focusing on clothing from the Titanic period, which I admit is one of my favorite eras of fashion history. Fortunately, we always have Titanic Era fashions (and automobiles) on display in the Fountainhead Museum.

The "Titanic Era" actually fell at the end of what we call the Edwardian Era, or La Belle Époque (the Beautiful Age). Around 1908 the curvaceous, womanly figure of the Edwardian lady gave way to a more lithe, fluid and upright look. Women no longer tortured their figures with the S-curve corsets. Instead, the new ideal was a long, slim silhouette reminiscent of the Directoire & Empire styles from 1790-1820. Single-piece dresses with high, empire waists were worn over long corsets that started just above the waist and fitted well down the thighs. This new style of corset did not squeeze in the waist, but it constricted the hips and was so long that sitting down was often a challenge.

Dresses during this period were often layered and sewn in asymmetrical patterns embellished with brocade fabric, lace trim, fringe or beading. Popular materials for day dresses included silk and velvet. Walking skirts of the time reached the ankle or instep.

Evening dresses were floor-length and many had trains. These were made of light or sheer fabrics adorned with lace or trimmings over a silk underlayer. Tunic styles were especially popular. Hats were not worn with evening gowns. Instead, it was fashionable to adorn one’s pompadour hairstyle with elaborate combs, jewels, aigrettes, feathers or a tiara. Long gloves were essential.

By day, women wore large hats to offset their narrow silhouette. These were adorned with an abundance of decorations, including flowers, lace, fruit, feathers and even entire birds. Hats that lacked these ornate trimmings compensated by being extremely wide. 

One hundred years after the Titanic's tragic voyage, the elegance of the era can still be seen in modern fashion. From Edwardian-inspired wedding gowns to the oversize, heavily adorned hats worn at the Kentucky Derby, these "unsinkable fashions" represent timeless sophistication. 


You can read more about our vintage fashion collection here.

Detail: Titanic Era Fashion

0 Bodacious Bodices

by Nancy DeWitt

A collection of 1920s dresses

In the beginning, we didn't intend to feature historic clothing in our automobile museum. When several women in the local antique car club suggested we put some on display, we thought it sounded like a great idea. Armed with a small budget and an eBay account, we snapped up some pretty duster coats, a few mens' suits and several dresses and hats.

Fast forward to today. We now have more historic fashions on display than we do cars! Back when we were planning the museum, we didn't realize that clothing styles had evolved as dramatically as that of automobiles. Or, that some fashions were influenced by the automobile, and vice-versa. We also didn't anticipate how much our visitors would love seeing antique clothing alongside the cars. Barbara Cerny, our fashion curator, has done an amazing job at locating these historic pieces and exhibiting how fashions changed from the 1800s through the 1930s.

The oldest garments we have on display right now include several dresses from the late 19th Century. By the 1870s, fashion had evolved from hoop-skirted dresses of the 1860s to a narrower silhouette that emphasized the bust, waist and hips. Bustles and extremely tight corseting were used to achieve the desired shape. Overskirts, trimmings and trains were popular. Early in the decade, most bodices (the upper part of the dress) ended at the waist, but they soon began to lengthen. By 1877 bodices extended tightly over the hips, as seen on the black gown above, and bustles had diminished. Low, square necklines were common on evening dresses.

Dresses in the early 1880s, like the outer two in the above photo, had bodices that were short, tight fitting, and cut to a center point in the front. High, fitted collars were now fashionable. By 1880, trains began to disappear and "pannier" drapes at the hips became the rage. Skirts featured elaborate pleats, puffs, or draping, while decorations of ribbons, brocades and embroidery were now in vogue.

By the mid-1890s the bustle had disappeared. As skirts became more plain, bodices grew more elaborate, with frills, tucks, lace, embroidery, epaulettes and puffy sleeves. Some of these “leg-o-mutton sleeves” were so immense that they required two-and-one-half yards of material each!


We hope you will stop by to view these beautiful gowns up close, and to see how fashion continued to change from the Edwardian Era through the Roaring 20s and the glamorous 30s.

Detail: Bodacious Bodices

0 Hobbled by Fashion

by Nancy DeWitt

Of all the fashions of the Edwardian era, none was more controversial—or dangerous—as the hobble skirt that was popular from 1910 to 1914. Hobble skirts were so narrow at their base that wearers were forced to take tiny, geisha-like steps. Many denounced the hobble skirt as unsafe, while others ridiculed such a restrictive fashion appearing at a time when suffragettes were demanding more freedom.





We just put this beautiful blue hobble dress on display. It is hobbled by its narrow cut and a placquet that hugs the knee area.  Made of fine woven silk with oriental or early Art Deco motifs, the fabric is very lightweight and seems more appropriate for a scarf than a dress. The dress was likely made by a private or skilled home seamstress.  



Hobble skirts were outrageous enough to make an impact on the transportation industry. By 1914, streetcars throughout the world were modified with special ‘hobble skirt cars’ that had low doors, allowing a woman to mount and disembark the car “without encouraging curiosity and diminishing privacy.” Ironically, the hobble skirt trend died soon after these streetcars were introduced.

Can you think of any other fashions that influenced transportation design?   For a video about Hobble Dresses, please visit our Fountainhead Museum YouTube Channel.

Detail: Hobbled by Fashion