Installing the Sybil Ludington Statue, 1961

This picture showed up unbidden in my Facebook feed and unlike the many unsolicited ads that come my way, I was happy to see it. I knew nothing about the brave Revolutionary War heroine, Sybil Ludington.  Her ride through Putnam County, New York to rally troops against the British rivaled that of Paul Revere. 

The photo shows members of the Daughters of the American Revolution, who solicited the statue, at its installation in Carmel Hamlet, New York.  The women range from old to young, with a remarkable collection of outfits among them.

The oldest looking woman, second on the right, has on clothes that give a nod to the early decades of the twentieth century.  The skirt is long and she wears a man’s tie, a common look for the feminist inclined in that era.  The woman third from the left has one a suit that might be from the late 1930s or early 1940s, with a boxy fit and broad shoulders. Her small “doll hat,” worn at an angle, comes from that time period. The young girl on the far left wears the common shirtwaist style of the fifties, complete a full skirt probably held up by many petticoats.

That leaves three older women (second left, fourth left, first right) wearing clothes that are right in style.  Did they buy their outfits specifically for this special occasion? Note that two are without hats, and one even without gloves.  The codes defining “well dressed” were changing.   

Posted in 1960s | Tagged , , | 1 Comment

Country Club Dress Codes

A friend was recently invited to a pre-wedding event in the dining room of a local country club.  The invitation included an extensive dress code, something I had never heard of before. Here it is in its boldfaced entirety:

DRESS CODE

The Club expects the attire of its Members and guests to be in keeping with the generally accepted standards prevalent in comparable Clubs. All persons entering the Club are to be appropriately dressed for the occasion. The Club reserves the right to deny access to the facilities to anyone dressed improperly. The following guidelines assist Members and guests in maintaining a standard of good taste that is necessary to maintain the dignity of the Club.


ACCEPTABLE GOLF COURSE ATTIRE

All clothing should be changed in the locker room. Soft spikes or non spiked athletic shoes are required for all golfers. Women’s shorts and skirts are acceptable provided the outer seam measures no less than 18 inches and is no more than 5 inches above the knee. NO DENIM ALLOWED. Sleeveless shirts must have collars. Men’s shirts must have a collars and must be tucked in at all times. Shorts must be within 4 inches of the knee. Banded shirts and full buttoned shirts that are evenly hemmed may be untucked.


ACCEPTABLE CLUBHOUSE ATTIRE

Denim is not permitted in the dining room or on the course at any time. No stocking or bare feet in the dining areas.


UNACCEPTABLE ATTIRE

Denim, cut-offs, baseball hats worn backwards, t-shirts, cargo shorts, warm up and athletic wear, hooded sweatshirts, flip flops and sandals.

Of course I had to research the phenomenon.  Was it true that these strict rules were really “generally accepted standards prevalent in comparable clubs”?

It turns out that some clubs are even stricter.  The code above bans all shorts from the dining room.

Were there codes from the beginning, or just when clothing in general became more casual?  In some commentaries, I read that clubs were trying to encourage the look of “old money,” presumably the aesthetic of original members (or what the original members were imagined to be).

Do the rules enforce modesty?  If we take this photo taken at the Scranton PA club as an indication, apparently, they do not.  No skirt length rules for the club house!  Or might this dress qualify as shorts?

Posted in 2020s | Tagged , | 3 Comments

Kill Dirt, Says Charlotte Perkins Gilman

Excuse this detour to another topic in the 19th century. I’m currently doing research into views of spinsterhood in the early twentieth century, background for a project on the dashing spinster Tish. One of the most outspoken on the topic was novelist and feminist theorist Charlotte Perkins Gilman. While trying to figure out more about her life, I discovered she studied at the Rhode Island School of Design. After graduation, she initially made her living designing trade cards, a popular form of advertising.

Her work is quite whimsical, different from other trade cards I have seen. I particularly liked this one, showing a young female archer attacking dirt. Was it perhaps the embryo of her future analysis of housework? She would go on to criticize the sexual division of labor in the home that put all the hard jobs in the hands of women. Although the bold sportswoman above is still in charge of cleaning, she is making quick work of it. Don’t you wish it were so easy to kill dirt?

Posted in Pre 1900 | 1 Comment

Those Forties Prints

Found photo

Sometimes I think that people can be easily divided into simple categories, like those who like the morning and those who prefer the night.  Fashion offers many such stark divisions, such as the rift between those who favor flowing styles and those who like crisp tailored looks.  And lets not forget the gap between flowered and geometric textiles.

According to Jane Dormer’s wonderfully informative book, Fashion in the Forties and Fifties, on many levels fashion went through a big shake up at the end of World War Two.  Not only did the boxy, tailored suits and crisp shirtdresses of the forties fade into the more flowing and curvy confections of the fifties, but textile patterns moved from geometrics to florals.  “Ín the forties small abstract patterns composed typically of dots and dashes were popular,” she writes. “In the fifties stylized flowers were among the most favoured designs.”

This mother daughter photo has no date, but it is easy to place it squarely in the forties.  Not only are the skirts short, but the fabric is clearly in the geometric camp.  On the right we have polka dots, a classic for older women.  On the left is what looks like an interesting kidney shaped print.

For the record, here are my preferences—morning, tailored, geometric.  You’ll never catch me wearing flowers.

Posted in 1940s | Tagged | 1 Comment

On the Sunporch, 1959

Sunporches—a glassed in or screened in patio—are something I associate with the South.  When I lived briefly in Florida as a child, the family TV was on the sunporch.  My in-laws in North Carolina had one that wrapped halfway around the house.  This one is fitted up like a comfortable room, with rattan furniture and a wall-to-wall carpet.

These two women look like they are dressed up for a special occasion. Maybe there was a party going on.  The one on the left wears a necklace and earrings.  Her dress is low cut enough that it might have been set aside for evenings out.  The woman on the right also wears a fancy dress, decorated with clips on the bodice.  The only one in an everyday outfit is the collie.

By 1959, dress styles were changing.  Waistless designs like the chemise and the trapeze shape were coming out of Paris, marking a shift to the boxier looks of the sixties.  These two women, however, stuck to the fit and flare silhouette of the fifties, although the dress on the right seems to have a lot less flare.  I wonder what they would be wearing a decade later.   

Posted in 1950s | 3 Comments

Sonia Delaunay, My Textile Muse

I’ve written about Sonia Delaunay before, a Ukrainian born French artist who made magic from color and geometric forms.  Although she had many artistic talents, the one I admire most was her skill at fabric design.

I am a serious seamstress, making most of my own clothes.  However, it is only recently that I have thought of designing fabric as well.  It is very easy to do these days, with sites like Spoonflower offering sophisticated tools.  Instead of the perfection of computer created designs, I’m drawn to the handmade look of Delaunay’s creations. 

Here’s an early effort. It’s harder than it looks and I can’t claim any native artistic ability. 

But perhaps one day you will see me in a Delaunay inspired Mally creation—although certainly not a dress!  I’ll keep you posted.

Posted in 1920s, 2020s | Tagged | 3 Comments

Vera’s Scarves

My husband and I are watching the long-running (14 seasons!) show Vera on BritBox. If you haven’t seen it, the star is a curmudgeonly older detective, no longer svelt, with a brusque style and an unusual wardrobe.  Out in the field she wears a mackintosh with a green hat.  (You can buy a copy here.

But it is her indoor outfits that interest me.  The clothes have no particular style and she makes no effort to “show off her best features,” standard advice given to the older set.  Instead, she wears frumpy looking dresses or skirts and long-sleeved blouses, almost always with an LL Bean style quilted vest over them. Occasionally she appears in baggy pants. With skirts and dresses she wears tights or knee socks.  She always has on flat slip on shoes, all the easier to change to boots when the outside weather is rough.

Her clothes are completely practical, and you have the sense that she wears whatever is clean, maybe reaching into her closet when it is still dark.  However, one element fascinates me—her long scarves that she has on indoors and out.  Why the scarves indoors?  Some older women wear scarves to cover their wrinkled necks, but Vera doesn’t always do this.  (I couldn’t find a picture on line to document this, so you will have to believe me.)  The scarves rarely compliment the rest of her outfit. 

I have decided that the scarves are Vera’s one source of beauty in her dress.  She knows that she will need them outdoors to protect against the wind, so she doesn’t bother taking them off inside. Although some look ordinary, I imagine they are the softest cashmere.  And the one she wears above is extraordinary. Don’t we all need beauty in our lives?

Posted in 2010s, 2020s | Tagged , | 5 Comments

The Fashion Lag in the 1920s

Found photo

When I first looked at this photo, I focused on the older woman on the right—I’m assuming the mother of at least some of these young people.  Her dress, a waistless smock shape, is surely from the 1910s, maybe even with some of the arty decoration from that era.  The dresses of the younger women are quite a bit shorter and feature the dropped waist of the 1920s.  Given their length, I would guess they come from the middle of the decade.  And is the young woman front left wearing a divided skirt? 

The contrast between the daughter and mother on the right is a clear example of the fashion lag.  While the daughter has most likely kept up with current fashion, the mother didn’t bother.  Why should she?  Her dress looks supremely comfortable.

Posted in 1920s | Tagged | 1 Comment

At the Overlook, late 1930s

Found photo

Since we can’t really see the background in this photo, it could have been taken just about anywhere.  Maybe it was snapped on some Sunday afternoon drive after church where these two women stopped to enjoy the view.

Two factors make me guess that the photo comes from the late 1930s. The puffed sleeves and pintucks, evident in the lighter dress, were common features in the late thirties.  Even the sleeves on the dark dress have a little puff.

More telling is the difference in the skirt lengths.  Skirts were rising throughout the 1930s.  The woman on the left wears a dress to the mid-calf, more common in the middle of the decade.  However, the dress on the right comes to just below the knee, a look from the end of the decade or even the start of the 1940s.

The tilted hats are very much in style. But what decorates the hat on the right? Doesn’t it look like a bundle of twigs?

Posted in 1930s | Tagged , | 1 Comment

Jessie Franklin Turner, an American Original

Fortune magazine, December 1930

In her book American Beauty, author Patricia Mears calls Jessie Franklin Turner (1888-1956) “arguably the first important American couturier of the twentieth century.” Her dresses usually had simple shapes but original fabrics that were inspired by non-Western styles and textiles.  She frequented museums for her inspiration and had textiles copied for her original designs.  As the caption for this 1933 photo states, “Miss Turner proceeds directly to new and exquisite material for an inspiration.”

Although she ran a very successful shop on Park Avenue, Jessie Franklin Turner was shy about putting herself in the public eye—and this Fortune photo is one of the few I found online (and according to the caption, the first ever published). I love the contrast between the models in their fancy dresses and the designer all in black, including a black hat. She looks to be from another time and place entirely.

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