During the 1920’s, Paris underwent a period of reconstruction following the blow of World War I. The confection of clothing became a primary industry as the economy blossomed. After persevering years of war, women celebrated this rebirth with newfound liberty which they expressed in both the way they carried and costumed themselves.
A retrospective of lavish 20’s fashion is currently on show at Paris' Musée Galliera de la Mode. First foot in, you are transported into a belle époque. As distorted jazz wafts through the Paris cityscape projected overhead, footage of dancing is measured in steps on heels and toes.
Introduced to the garments and characters, liberty and glamour reign. The romance, sophistication and individuality of les années folles, the crazy years, played into maintaining an allure of charm, a woman’s raison d’être.
Ironically, underneath painstaking attention to detail came comfort. A forerunner to the bra burning of the 60’s, the corset gave way to a flattening bandeau. Designer Poiret is accredited with liberating the body by foregoing corsets, implementing an interior belt in grosgrain. His designs also featured billowing shapes like a train of fabric to tail behind a gown, while others take a lampshade-like form that has inspired today’s balloon hems.
The androgyny of a flattened poitrine was perceived as ideally feminine. And so arrived la Garçonne, the name taken from a 1922 novel, a young rebellious woman, athletic and thin, who wore her hair short and slicked back. Costumed in skirt and suit jacket worn atop a collared shirt and bowtie, la Garçonne was a symbol of liberty, who enjoyed driving, smoking and the company of both men and women. Gertrude Stein and Chanel model Colette embody these ideals.
Liberated, jumping on a pogo stick in a city garden, riding a bicycle, or sunning seaside, women’s leisure pursuits were costumed in wardrobes fashioned for the occasion. Bathing suits appeared in two pieces: halter tops of crocheted cotton with striped boy shorts and automobile bonnets constructed of leather or canvas with short bills, ear flaps and straps to buckle under the chin. Grand voyages were facilitated with passage by train, boat and automobile. With this newfound mobility, the world was an open book.
An art deco Mecca, Paris architecture began to imitate the lines and embellishments of the period’s elaborate clothing. Inside such a facade, the soiree began with dinner and cocktails fuelled dancing into the early morning. To shimmy, fox trot, and dance the Charleston, arms akimbo, dress yourself head to toe like a flapper.
Even then, a regiment of applying anti wrinkle cream had begun. After plucking eyebrows clean, they were redrawn in pencil. Eyes were blackened with kohl, mascara applied, lips painted bee stung, and face powdered matte. Perfume balanced the fragility of this porcelain doll with masculinity, tingeing her with notes of leather and musk much like Prada’s scent.
Cropped hair was crowned with a sautoir, a triangle shaped tiara, or a headband worn above the eyebrows. When out for the afternoon, a bell shaped cloche or large brimmed sun hat was choice.
Evening provided the excuse for feathers, fur and pearls. Plumed boas, long silken scarves with pockets at each end to insert hands, shawls, and capes for warmth, while fans and parasols embroidered or painted with oriental flowers served during daylight hours.
Silk for a gown was chosen in a hue of black, red, pale pink, gold, an Asian printed fabric or a more dramatic geometric motif influenced by Cubism. A belted drop waist dress, straight cut, sleeveless or backless was hemmed below the knee. Embellished with sequins and pearls, sheer layers of lace, fringe, or muslin, and knife pleats or levels of ruffles. Pinning a flower corsage made from the gown’s fabric at the shoulder or hip, a last detail.
A pocket mirror to freshen makeup was toted amidst other necessities in a pochette or oversized wallet-like bag carried in the hand, or a sac-bourse carried by the noose of a cord, embellished with a dangly amulet.
Beyond the ankles, beaded, jewelled and embroidered stubby heeled mary janes, masculine, lace-up loafers, or t-straps with buckle on the tongue completed the get-up.
Everything adorned to excess, detailed pieces were paired to enrapture when encountered by the starry glitter of night. The exhibit’s gowns and accessories are better seen than described. Visit the exhibit or peek at one of these books to further instil a sense of timeless allure into your personal style.
Musée Galliera 10, avenue Pierre 1er de Serbie 75116 Paris
Les années folles (1919-1929)
through March 30th
