FIDM Museum Blog

Quilted cloche, c. 1925

 

The close-fitting cloche is the headwear most closely associated with the 1920s. Worn throughout the decade, the streamlined fit of the cloche complemented the slim lines of 1920s dress. Unlike hats of the previous decade, which often featured dimensional decoration of feathers, flower or tulle, the cloche featured relatively minimal embellishment. In 1927, a New York Times fashion reporter lamented the popularity of "the simple, unadorned cloche," suggesting that milliners were in despair over the widespread preference for its straightforward shape and modest decoration.¹

Cloche
c. 1925
Museum Purchase
81.25.6

Ecarlate de Suzy, 1940

 

This Baccarat perfume bottle contains Ecarlate de Suzy, a perfume that was described as heady and provocative. In the shape of head and neck topped with a red hat, it has the same whimsical quality shared by many of the mid-twentieth century perfume bottles in our fragrance archive. The Suzy referred to in the name of the fragrance is Madame Suzy, a prominent Parisian milliner. This late 1930s Madame Suzy red and white hat is reminiscent of the hat perched on the Ecarlate de Suzy bottle.

Ecarlate de Suzy
Madame Suzy
c. 1939
Gift of Annette Green
F2005.860.349

Agnés turban, c. 1940-42

 

Before World War II, fashion reportage devoted equal consideration to millinery and clothing. The newest toques and turbans from Paris milliners were described alongside the latest day and evening wear from Gabrielle Chanel, Jean Patou and Jeanne Lanvin. As was true for changes in hemline or silhouette, most millinery trends were born in Paris and then relayed to London, New York and other cities. Preeminent among Parisian milliners during the 1920s and 1930s was Agnés, often referred to as Madame Agnés .

Agnés trained under Caroline Reboux, perhaps the most well-known of the late 19th and early 20th century Parisian milliners. In 1917, Agnés opened her own salon. For her personal wardrobe, she reportedly favored Madeline Vionnet and Louiseboulanger. She was reportedly aware of artistic currents, mining both contemporary and historic art for her designs. In 1925, she designed a close-fitting cloche wrapped with gold and silver leaves, which was described in an advertisement as the "headgear of a goddess." In the 1930s, Madame Agnés began designing softer, draped hats somewhat similar to a turban. In 1936, she created a "Hindu beret turban" for Marlene Dietrich; this hat was a softly puffed beret, tilted to the side. Our Madame Agnés is somewhere between a turban and a hood.

Agnés
1940-43
Museum Purchase
2009.5.23

Bathing cap

 

It's the time of year when those of us in the northern hemisphere start dreaming about summer. Winter has gone on long enough and we're ready for warmer weather. Granted, the FIDM Museum is located in Los Angeles, so we can't complain too much. Still, I find myself repeatedly searching the terms "swimwear" and "sundress" in our collections database. A recent search for "bathing cap" revealed this late 1950s rubber bathing cap, textured and printed to resemble a woman's hairstyle and adorned with a flocked flower.

Bathing cap
Rubber with fabric flower and leaf
c. 1956
Museum Purchase
2003.5.36

Valentina hat

 

Valentina never suffered a lack of confidence in her taste or in her design skills. She was notorious for giving clients what she thought the needed, not what they requested. In 1952, Life magazine reported that her maxim to clients was "take it or take it," also noting that "a buyer who arrives to be fitted in a red dress may find that Valentina has decided it should be blue."¹ For the most part, clients accepted Valentina's imperious dictates, allowing themselves to be dressed as the Russian-born, New York-based couturier felt appropriate. Fortunately for her clients, Valentina believed that clothing should be designed and constructed to last for years, to be discarded only when it was entirely worn out. A 1952 anecdote recounts Valentina's dismay at a client who wanted to purchase a new outfit:"A new street outfit? Ridiculous! What's wrong with the navy one I made you four years ago?"²

Traveling dusters

A traveling duster is a loose fitting outer garment worn to shield clothing from the dirt, dust and grime of travel. Though protective outer garments have been used for centuries to shield workers from the hazards of their trade, traveling dusters are unique in their association with the luxury of rapid travel. Within the United States, references to traveling dusters seem to have increased in the mid 19th century, just as train tracks were spreading throughout the United States.¹ Nineteenth-century passenger and freight trains were powered by steam engines, which were fueled by burning coal or wood. The resulting smoke and ash entered the passenger cars through open windows, along with dust generated by the movement of the train along the tracks. All in all, nineteenth-century train travel was a fairly dirty business. It's no wonder that dust and dirt repellent traveling dusters were worn by many train passengers.

Duster
Linen
1877-1880
Gift of Joshua & Jenny Livingston
2000.879.1

Silk moire bonnet, c. 1845

Bonnet
c. 1845
2008.5.32
Museum Purchase

During the 1840s, headcoverings were an essential part of every women's wardrobe. Inside the home, women often wore delicate, lacy caps which covered the hair and tied under the chin. When venturing out into the world, most American women wore a bonnet made of straw or silk. In the mid-1840s, the fashionable bonnet shape was that seen here: a continuous crown and brim forming a straight line with low tabs covering the cheeks and ears. Embellishment varied, but a bow or puff of ribbons on one side, long ribbon ties at the chin and a "bavolet" were common characteristics. The bavolet, a gathered panel of fabric extending from the lower back of the bonnet, was also functional, providing sun protection for the neck. It also covered and protected the fashionable hairstyle, a knot or twist of hair worn low on the neck. The interior of the bonnet brim often featured additional decoration in the form of artificial flowers, lace or the frilled edges of a house cap peeking out from under the bonnet. Photographic evidence indicates that some women wore fancy house caps under their bonnets, particularly when visiting. The bonnet was removed to reveal the house cap only when entering a home or other appropriate indoor space.

Silver paper headdress, c. 1860

Anyone interested in the history of fashion quickly realizes that fashion is a series of cyclical repetitions. Contemporary silhouettes, colors and design details reference recent and historic styles, often with only slight modifications to bring a garment into the present moment. This cycle isn't new or unique to contemporary culture; documented revivals of historic fashions exist in the nineteenth century and earlier. Fashion historian Barbara Baines has suggested that revivals of historic dress styles are due to a number of factors, including nostalgia and an interest in associating oneself with specific, perceived characteristics of the past. In addition to these psychological factors, concrete events like an archaeological discovery, museum exhibition or period film can inspire a revival of historic styles.¹

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

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