FIDM Museum Blog

Irene Castle dancing cap

Between 1911 and 1917, Irene and Vernon Castle were at the forefront of a "craze" for social dancing. Usually called "modern dance" at the time, social dance was promoted as form of healthy and enjoyable recreation. Accompanied by lively music, social dances were usually given memorable names, such as Turkey Trot, Grizzly Bear and Bunny Hug. Though some conservative thinkers considered the relatively close contact and hectic movements of social dance vulgar, the Castles insisted that "real dancing is not a series of gymnastic contortions...real dancing means graceful measures tripped out to the lilting rhythms of fine music."¹ Irene and Vernon Castle promoted their refined version of social dance through appearances on stage and screen and by opening a nightclub and dancing school in New York.

In 1914, the Castles authored an instruction manual titled Modern Dance. In additional to the detailed descriptions and images depicting dance steps, Irene Castle authored several chapters focusing on appropriate dancing dress for women. Included are suggestions on corset types (the Castle Corset, designed specifically for dancers), shoe types, stocking color and an injunction against over-sized "picture" hats, which are "unpleasant" for dancing.² Though Modern Dance features several images of Irene Castle in large hats, she is also pictured wearing a small, close-fitting cap similar to the crocheted and embroidered cap pictured below.

Castle or Dancing cap
Cotton
c. 1915
2004.5.7
Museum Purchase

Tunic dress, c. 1912

In 1912, fashionable dress was a combination of classical and orientalist elements. The silhouette was slim and high-waisted with an emphasis on the vertical line. A draped surplice bodice, waist sash or overtunic provided the requisite touch of drapery. These elements were drawn from ideas of ancient Greek and Roman dress as filtered through the Directoire style (itself a revival of Greek and Roman dress) of late eighteenth century France. Conceptions of Middle and Far Eastern dress were expressed through the popularity of jewel-toned textiles. Popular accessories, including jeweled and feathered turbans, also borrowed heavily from the Far and Middle East.

Tunic dress
c. 1912
Museum Purchase
2000.5.1

Hand painted silk ensemble, c. 1925

Child's "Dainty Blossom" Ensemble
Daisy Stanford
Hand-painted silk
c. 1925
Museum Purchase
2003.5.24A-C

Hand-painted novelties, including dresses, scarves and ribbons, enjoyed a burst of popularity in the teens and twenties. A Paris fashion report from 1913 stated that "hand-painted dresses...are said to be the coming craze at fashionable Summer resorts."¹ This was despite their high price, "which is said to be 40 per cent in excess of the ordinary figure."² In 1924, "painted things," including gowns, gloves, stockings and scarves, were declared "in perfect harmony with the mode of the day and very smart."³

Textile swatches

Today's post features a hodge-podge collection of textile swatches presented with a minimum of commentary and contextualization. We'll be back to our usual posts next week. In the meantime, enjoy these striking textiles!

Designed as European countries moved towards the fierce battles of World War II, these toy soldiers were probably used to decorate the bedroom of a young boy.

Printed cotton, probably a furnishing fabric
C. 1938
Gift of Roberta Tuller
2006.865.9

This whimsical cat and mouse print is very similar to some of the prints seen in the Miu Miu Spring 2010 Ready-to-Wear show. The paper tag seen at the top of the image indicates that this was a sample. Three of the five colorways are visible.

Silk crepe textile samples
c. 1938
Gift of Roberta Tuller
2006.865.14

Do nautical motifs ever go out of fashion?

Printed cotton
c. 1938
Gift of Roberta Tuller
2006.865.10
 
The textile below is another of our Wiener Werkstatte textile swatches. We are still in the process of documenting this large collection of textile swatches! Wish us luck!

"Gazelle" textile pattern
Franz Fochler
Wiener Werkstatte
1911-12
Gift of Robert Fortunoff
99.274.99

Masculine dress?

In the early 20th century, women who chose to wear bifurcated garments (i.e. trousers) outside of the gymnasium or off the playing field risked public censure. Though women had been wearing full, almost skirt-like trousers for sporting activities since the late 19th century, these bifurcated garments escaped condemnation only because they were functional, not fashionable. Full trousers of this type were often called "bloomers," after Amelia Bloomer, leader of a controversial attempt to popularize bifurcated garments as everyday dress for women during the early 1850s. Worn for activities such as bicycling, cricket, light calisthenics and swimming, bloomers allowed for freedom of movement, while obscuring the contours of the leg and lower body.

Bloomers
c. 1920
Gift of the Manlove Family
2006.870.76

Mirrorwork embroidery

Though the focus of the FIDM Museum collection is on objects related to Western European and North American dress, we do have a small number of outstanding objects related to the sartorial traditions of other cultures and countries. Many of these objects, like this kimono dressing gown, have been reimagined or repurposed to suit Western tastes. Today's object, a small drawstring bag covered with mirrorwork embroidery, is no exception.

Drawstring bag
1900-35
Gift of Carita Kadison
2003.792.3

Tailored suit

In the 20th century, the tailored suit became a standard uniform for professional working women. Consisting of a jacket and skirt in matched or closely coordinated fabric, it developed in the late 19th century as an evolution of specialized garments worn for outdoor activities such as horseback riding, croquet and bicycling. Like its sporting predecessors, the tailored suit had a function: it served as a professional uniform for the newly emerging class of women who worked outside the home as educators, social workers and clerical employees. Tailored suits were also worn for leisure activities like travel or an afternoon promenade. With styling borrowed from menswear, most tailored suits featured solid colors and a minimum of decorative trim.

Two-piece suit
1913-1914
Gift of the Manlove Family
2006.870.33AB

Bohemian dress for children

Bohemians were figures of both fascination and fun in the late 19th and early 20th centuries. A typical Bohemian was often artistically or politically inclined and was willing to step outside the bounds of conventional society. The highest Bohemian ideal was to be true to one's own inner passions, regardless of societal or economic pressures. This interest in nonconformity led Bohemian dressers to a variety of innovative dress styles: non-Western garments, comfortable work or sport clothes, and costumes born of their own imaginations.

Long associated with working artists, the "art smock" attained special prominence in notoriously Bohemian Greenwich Village during the late teens. The loose, unstructured fit marked its wearer as a woman willing to reject the boundaries of fashion and propriety in the pursuit of an "artistic" life. A woman who was willing to wear such a free and easy garment was assumed to adhere to ideals of personal, social and sexual liberation. Smocks could be purchased in several Greenwich Village boutiques, including the Village Store and from the studio of batik artist Alice Muth. The 1922 Greenwich Village guidebook by Anna Alice Chapin noted that it was common to see "girls in smocks of 'artistic' shades-bilious yellow-green, or magenta-tending violet" when visiting the area.

Coco Chanel

Gabrielle "Coco" Chanel (1883-1971) distinguished her design aesthetic through a strict insistence on comfortable, lightweight garments and a pared-down silhouette. Chanel's interest in simplicity is seen in her earliest millinery designs from the 1910s, which relied on a single, dramatic embellishment for decoration rather than the "assemblage of materials" then in vogue.¹ This interest in "less is more" also demonstrated itself in her earliest garment designs, ready-made suits and dresses often made from inexpensive wool jersey. These garments, almost the exact opposite of popular feminine fashions, launched Chanel's career. Throughout her career, Chanel adhered to the basic principle of crafting soft, lightweight fabrics into functional (yet luxurious) garments.

Though Chanel produced a variety of garment types throughout her career, one that reappeared over and over was the suit. Borrowing from menswear, Chanel created a feminine suit which offered ease of movement and capitalized on the implication of power inherent in the masculine suit. The basic, stripped down silhouette remained consistent, but the textiles changed with the times. It became a classic and functions today as shorthand for the designer herself.

Two-piece suit
Chanel
Spring 1964
Transfer from the Museum at FIT
S2004.291.24AB

Wiener Werkstatte textiles

Remember this post about found textiles? Today's post features a group of Wiener Werkstatte textiles from the same collection.

The Wiener Werkstatte (Vienna Workshop) was an artistic collective based on an interest in eliminating the gap between fine art and crafts. Founded in 1903 by architect Josef Hoffman and artist Kolomon Moser, the Wiener Werkstatte's goal was to design and produce all objects needed in daily life. Consisting of a design school, studios for established designers, a production workshop and retail outlet, the Wiener Werkstatte's goal was to improve everyday life through excellent design and craftsmanship. From large scale architectural commissions to furniture and small decorative objects for the home, the designers associated with the Wiener Werkstatte envisioned all aspects of life united under a single artistic aesthetic, with all elements blending into a harmonious whole. The designs were brought to life by skilled craftspeople who worked under extremely progressive conditions.