The Faces of Age in the Saturday Evening Post

For a new research project, I’ve been looking through the Saturday Evening Post in the early twentieth century.  If you pay a mere $7 a year, you get access to every issue—a bargain in my book.  I did a visual study of the covers from 1912-1913. The majority depict beautiful young women of the Gibson Girl type.  A few are imagined scenes from American life, like boys fishing.  And a very few—6 out of 102—show older women.  The six drawings fall easily into two categories—the shrewish older woman disapproving of her husband and the loving granny in charge of her grandchildren.

What is astonishing about these drawings is the consistency of the women’s clothing, despite the fact that they were drawn by different artists.  All wear black.  All but one has a lacy frill at her neck.  All but one has a black hat, and the outlier wears a black bow.  Stereotypes have some basis in reality—after all, many older women did wear black with white lace at the collar. 

However, many older women did not look like this, at least not all the time.  They wore shirtwaists, just like younger women.  They dressed up for the occasion.  They wore white.

Stereotypes can severely limit our vision.  “Where are all the sweet old ladies in their bonnets,” wondered one writer in Ladies Home Journal in 1907.  Maybe there hadn’t been so many of them all long.

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Party Time, 1962

Found photo

On the back of this photo, someone has written in green ink “July ’62. Celi’s party. Camp.” At first I thought it might be some kind of amateur theatrical event, with a painted background and the fans as props.  But on closer look, those must be real trees (hence “camp”) and the meaning of the fans remains obscure.

These older women are dressed in a range of clothing styles–the ubiquitous house dress/street dress at the center, a shirtwaist dress, skirt and blouse variations, a cardigan style jacket, and even a younger looking one in pants.  However, there isn’t a very big color range.  It is mainly light blues, whites, and beiges, with one dark red dress and wild purple pants thrown in for contrast.  Despite what appears to be a fairly broad age spectrum (from the seventies to the forties?), they all have very similar hair dos—tight curls close to the head.  I’ll bet that many of these were the product of permanent waves.  At least one of them dyed her hair—look at that wild red head on the right (a woman after my own heart).

I wonder if this was a summer retreat associated with some women’s club or organization.  The fans perhaps were party favors—or maybe they were gearing up for a production of the Mikado.

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Waltzes from Chicago, 1931

In 1931 British Pathé, a wonderful source of historic newsreels and documentaries, filmed a celebration of Chicago oldsters dancing to a German oompha band.  Reader Davrie Caro sent me the short clip, which you can see in its entirety here: https://www.youtube.com/watch?v=FGdwOJHRaeM. All of the dancers were over 80 years old.  If you watch the film all the way through, you’ll notice that not all the dances were waltzes.

There is so much to say about the women’s clothing!  Skirt lengths had fallen by 1931, but they were still quite a bit shorter than most of the dancers are wearing.  A glance at the background shows quite a difference between the outfits of the older and younger women. 

In fact, it looks like some have on very old clothes, or at least clothes that had no resemblance to the current style.  The woman above, in what looks like an unbelted wrapper dress, even has on the lace up boots that were popular in the teens.  Maybe she needed the ankle support to dance.  And speaking of shoes, in the background of the photo above you get a quick look at those strappy shoes in vogue in the 1920s.

Notice the many frilly collars, a number made of lace.  There are all kinds of textiles on display, from plain colors to larger prints.  Many wear what looks like white, or at least a very light shade. Polka dots are also in evidence!  The silk looking dress above, with dots woven into the fabric, is my very favorite.  It seems to glisten when she dances.  And doesn’t she have a very spry partner?

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Go Ask Alice, 1937

Celebrity advertising is nothing new. Although we might not recognize the name today, Alice Roosevelt Longworth, the daughter of President Theodore Roosevelt, was a famous beauty in her youth.  Born in 1884, she became a fashion icon when her father became president at the start of the twentieth century.  She favored azure blue dresses, so much so that she inspired the song “Alice Blue Gown.”  In 1906, she married Ohio congressman Nicholas Longworth and lived the rest of her life in Washington DC.  Outspoken in her views, she reputedly had a pillow embroidered with her favorite adage:  “If you haven’t got anything nice to say about anyone, come sit here by me.” If you’re interested, you can buy your own copy.

Widowed at the start of the Great Depression, she fell on financial hard times.  That might explain this 1937 cigarette advertisement.  I admire her pepper and salt hair and subtle jewelry.  She was still quite a beauty at age 53, although I wonder why the stylists didn’t dress her in blue.

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Older Women in Pantsuits, 1983

It is often said that older women are more conservative dressers than their younger counterparts.  Many don’t feel the pressure to stay up on trends, and some simply might not have the money to do so.  However, the pantsuit is one idea that the older set took to fairly quickly and held on to tightly.  In the 1980s, when the “Dress for Success” style of more masculine cut clothing was going strong, the pantsuit was a key item in many wardrobes. It’s easy to understand the appeal for the older set.  It offered a neat appearance while covering up a lot of problem areas—loose upper arms, less than slim legs, and a thicker waist.

In this 1983 photo of a local history lecture in Albany, California (near Berkeley), we see women in all kinds of clothing, including many dresses.  However, the woman at the center right, older looking than some others, has on a pantsuit. She has made the look more conservative with a frilly collar and even a cameo at her neck. However, she didn’t wear gloves, an old fashioned touch worn by the woman behind her. 

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In the Design Workshop

Found photo

As an enthusiastic seamstress, I love this photo of the interior of a professional clothing design workshop.  You can see all the necessary tools of the trade—a dress form, a bodice draped on the form, a worktable in the background with pattern paper and perhaps more muslin fabric.  Finished clothes hang on the rack, and there is even a tin of those ubiquitous Danish sugar cookies for a snack.

For those of you not familiar with the design process, there is a draped bodice in plain muslin on the dress form which might in the future be made into a pattern for a finished garment.  I think this is a posed photo because the garment in process is incredibly simple. It has none of the details that would make for an interesting finished outfit.  Maybe they have just started, but there really needs to be a dart at the bust.  I looked in vain for a photo of the process further along in a professional workshop. However, I mainly found fashion school photos, which almost always showed brighter and more spacious backgrounds.  Here’s one from the 1930s.

Looking closely at my found photo, I’m guessing that the woman in back, standing and wearing a dress, is the one in charge.  That would make the Asian American woman in front the one doing the design work. One clue is her comfortable pants outfit.  Draping can involve time crawling around on the floor with pins in your mouth. 

How to date the photo?  There’s a touch tone phone in the background, so it can’t be earlier than 1963.  Given the look of the Asian American woman’s outfit, I’m guessing sometime in the following decade.  That looks like indestructible seventies polyester to me.

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Dorothy Brett, True to her Style

Taos New Mexico might seem an unusual habitat for an English aristocrat, but the painter Dorothy Brett (1883-1977) was part of a wave of remarkable women who make it their home in the early twentieth century.  She counted Georgie O’Keeffe among her friends and initially made her home at Mabel Dodge Luhan’s guest house when she arrived in 1923.  She became an American citizen and remained in Taos until her death.

Like many who came to Taos, she was fascinated by the life and customs of Native Americans.  They became the central theme of most of her life’s work. 

In the photo above, taken when she was 83, you can Native American inspirations in her dress, like the belt that she wears over an artist’s smock and the boot style moccasins on her feet.

Like many of us, Brett’s body shape changed as she aged.  However elements of her style remained the same.  You can see this in the portrait of the young Brett above, with her loose shirt, pants, and boots.  When you find something you love, why not keep it?

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Catherine in the Catskills, 1924

Found photo

Had it not been for the writing on the back of this photo—Catherine Butle, Stamford NY, 1924—I might have placed this photo in the American Southwest.  The rocks, the artsy embroidered dress and the graduated bead necklace—very much in the style of “Navajo pearls,”–made me suspect she might have been one of those creative women who migrated to New Mexico in teens and twenties. In fact, though, she was on the opposite side of the country. Maybe my guess was a sign of West Coast chauvinism.

Vintage post card

The ebay seller offered additional information about her location.  She stands at the well-known rock arch by Loch Marion in the Catskills.  What looks like empty space in the background of the photo is in fact a lake.

Catherine’s entire outfit identifies her as an older woman with an arty bent—the cropped hair, the embroidered dress, the bell sleeves, the ethnic looking jewelry.  The dress has no waistline at all, fitting in with the smock look long popular in Greenwich Village. 

Like the Greenwich Village artist and gallerist above, Jessie Tarbox Beals, Catherine has created the illusion of a waistline with a sash.  The two tiered dress look was already out of style by 1924, as was the long length.  But that dress involved a lot of handwork and clearly Catherine did not want to give it up.  Don’t you wonder if she did the embroidery herself?

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Liz Claiborne at the White House

At the White House, 1991

What would you wear to a White House reception? In 1991, fashion designer Liz Claiborne (1929-2007) chose a sporty white pantsuit with a striped top. She looks like she might be headed for the yacht club. In contrast, First Lady Nancy Reagan looks ready for the opera in her long dress and pearls.

She might look like a fish out of water in this picture, but Claiborne was only being true to her own design style. When she started her own company in 1976, her focus was on adaptable clothing for women in the work force. She wanted her mix and match clothing to have more fun, color, and flexibility than the “Dressed for Success” look.

Many credit Claiborne for making the American workplace a more casual clothing environment. In a 1986 interview in Vogue, (“Dressing America: The Success of Liz Claiborne,” August 1, 1986) she explained her approach: “Casual clothes can look OK even when they are a little messy or have obviously been worked in.  Casual clothes make a woman look younger.”

I offer the picture above as proof of Claiborne’s statement. Would you guess that the First Lady is only eight years older than the designer?

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Aimée Crocker Gourand–The Queen of Bohemia

Railroad and banking heiress Aimée Crocker (1864-1941) was a famous/infamous figure at the beginning of the twentieth century.  Married five times, she decided to stick with the last name of her third husband, songwriter Jackson Gourand.  They met at a Buddhist temple in New York City and became something of a power couple, known for their elaborate parties and Asian adventures.

The American press both loved and hated Crocker Gourand, with some writers admiring her adventurous spirit while others were scandalized by lack of propriety.  The Philadelphia Inquirer gave her the title of “Queen of Bohemia” in 1921.  Press coverage didn’t alter her free spirited behavior.  For example, she got her first tattoos in 1900 and proudly displayed them in public. You can see them on her arm in the photo above.  She was still getting tattoos into her sixties.

After her third husband died in 1910, she moved to Paris, where she received a warmer reception.  There in 1936 she wrote her memoir And I’d Do it All Again, which chronicled her adventures in Asia, her many love affairs, and her penchant for collecting snakes.  By the end of her life, even the Parisians found her to be a little too wild.

And how did she dress?  The top photo, taken in 1911, shows her in a somewhat conservative but expensive looking suit.  It is beautifully cut with elaborate embroidery and statement buttons.  In an unusual move, she only wears a double strand of pearls.  Her tattoos are covered up.  But apparently she could not hide her real inclinations in her choice of hat.

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