Les INES

Editions Pierre Lofitle

Leon Benigni, Plate from l!emina, October 1930. CSM Archive.

Grey and silver fox, and ermine, are featured in this illustration, softening the hard lines of the geometric background which utilizes typical Art Deco ziggurat motifs.

Late Art Deco Woman Illustration

Pour les Soirs de Gala vos

Manteaux sont aussi Longs que vos Robes.

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Adroite, une merveilleuse cope d'hermine travaillée en long et dont le bns est légèrement en formo. Deux renards argentés sont placés ù Poncolure avoc une somptueuse originalité.

Le manteau de tissu, lui aussi, atteint la terre. Celui-ci en velours vert amande est bordé de renard gris. Quelques plis en arrière donnent une ampleur soulignée par la fourrure.

Ernst Dryden

Ernst Dryden, Illustration, 1928. Textile collage. Courtesy Mary Evans Picture Library/Dryden Collection.

Dryden uses fabric collage to create an urban landscape that equates fashion with modernity. Spots, stripes and checks harmonize with his chosen imagery.

For the Italian Futurists, who advocated 'the overflowing of art into life' and declared that 'our gallery will be the street', the USA was a symbol of modernity. However, Depero, a signatory to the Manifesto/or a Futurist Reconstruction of the Universe (1915), failed in his attempt to manufacture household furnishings during his time in New York between 1928 and 1930. He resorted instead to fashion illustration and advertising.

Fortunato Depero, Original illustration for American Vogue, 1929/30. Watercolour on paper. Courtesy MART: Museo di Arte Moderna e Contemporáneo di Trento e Rovereto.

Porter Woodruff, Evening wraps by Patou and Vionnet, American Vogue, 1929. Courtesy CORBtS.

By the late 1920s hairstyles were at their most masculine. Here two women sport severe 'Eton crops'. Having reached their shortest in 1927, hemlines were wavering - a compromise often involving the use of handkerchief points or asymmetrical arrangements at the hem. From his base in Paris, Woodruff reported on the Paris collections for American Vogue during the interwar years.

1930s Golf Attire Vionnet

Douglas Pollard, Black lace dress by Chanel, American Vogue, 1930. Courtesy CORBIS.

A much more realistic style had by now replaced the Art Deco fantasies of previous years. Pollard was an Englishman who worked for Conde Nast in New York between the wars.

Illustration Trousers

Hemjic, Gentleman's suit, c.1929. Courtesy The Stapleton Collection.

Casual American styling in flecked tweed is depicted in this illustration. Loosely draped trousers with turn-ups are teamed with a half-belted jacket with two-button fastening, accessorized by a brown homburg hat.

Choiselat Hollywood

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Choiselat, Advertisement for 'Le Hollywood' coat by Tissus Olympic, 1929/30. Courtesy The Stapleton Collection.

By naming the checked-tweed, double-breasted overcoat Le Hollywood (worn with plus-fours, Argyll socks and a beret), the garment manufacturer cashes in on the glamour associated with the American film industry.

Jacques Demachy

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Jacques Demachy, Cover of Femina, July 1930. CSM Archive.

A striped vest and beret impart a nautical flavour to this yachting ensemble. During his long career, Jacques Demachy also contributed to the Gazette du bon ton, Harper's Bazaar and Vogue.

/ In costume cn /luncllc ^ blanche que Con porte avec un jumper sans manches, en jersey marine ¡¡ami de pois bleu pastel el (le fines rayures blanches.

/ /" PUia,na cn hashaburc ^ marine, boutonné sur le côte. Un col cn hashu-lisse blanc est Iraverse par une bande bleue. Couverture frangée en même tissu.

Kashabure Pajama Suit

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/ In costume cn /luncllc ^ blanche que Con porte avec un jumper sans manches, en jersey marine ¡¡ami de pois bleu pastel el (le fines rayures blanches.

/ /" PUia,na cn hashaburc ^ marine, boutonné sur le côte. Un col cn hashu-lisse blanc est Iraverse par une bande bleue. Couverture frangée en même tissu.

J. C. Haramboure, Yachting outfits by Jane Regny, Femina, April 1930. CSM Archive.

A navy 'kashabure' pyjama suit and white flannels by Jane Regny. Trousers worn by women were fastened at the side until truly unisex styles arrived in the 1960s.

1930s Deauville

Je nouveau Golf do Deauville, situé au pied tic l'hôtel du Golf qu'on aperçoit au fontl, est un des coins les plus délicieux de la côte normande. Les jeunes femmes qu'on voit ici ont de charmants costumes de sport do Lanvin. L'un est eu jersey marine et tljersaspur rayé bleu et blanc, l'autre en djersaspor marron et blanc cl jersey blanc.

Jacques Demachy, Golf wear by Jeanne Lanvin, Femina, July 1930. CSM Archive.

Jersey golf costumes cul a dash on the new course at Deauville, 'one of the most delicious corners of the Normandy coast'. Demachy's innovative composition, with the cut-off figure in the foreground, makes full use of the possibilities afforded in the depiction of sport.

INCORPORATING "VANITY FAIR'

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HARPER'S BAZAAR

INCORPORATING "VANITY FAIR'

1933

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HARPER'S BAZAAR

UMMER FAS In! DO

Harpers Bazaar 1915 Cover

Ert6, Cover of Harper's Bazaar, June 1933. Private Collection.

An orange bathing suit highlights the tan of this mermaid-like figure. Erie's exclusive contract with Harper's Bazaar lasted from 1915 to 1938, during which period he did covers almost monthly.

THE SATURDAY EVENING POST

The Shouldaire Bathing Suit

"HE new Jantzen Sunaire—as modern as this moment! Yes, scarcely more than a brassiere and trunks, but so skillfully styled that it is entirely modest. Extremely chic...yet very practical! Plaited trunks that flare smartly...color harmonies to fulfill every wish, to complement every type. It has the true touch of Jantzen individuality— filling, as do all Jantzens, as though made for you alone. A worthy beach-mate to the Jantzen Shouldaire which, through an ingenious tie, permits the dropping of the shoulder straps with perfect modesty for an even coat of tan.

And for men there's the Speedaire — a suit of marked distinction that offers the utmost in comfort, in sun exposure, in swimming freedom...

F. Clark, Advertisement for Jantzen swimwear, 1931. Courtesy The Advertising Archives.

Established in 1910, Jcntzen was the world's leading swimwear manufacturer by 1930. Knitted fabrics were mixed with rubberized elastic fibres such as Lastex to provide a moulded fit. In 1930 the company developed the 'Shouldaire', a bathing suit with a drawstring above the bust that allowed the shoulder straps to be dropped to achieve an all-over tan.

Swimwear for men consisted of a one-piece suit until the early 1930s, when it became acceptable to bare the chest. In 1929 the Olympic swimmer Johnny Weissmuller (of Tarzan fame), endorsed topless trunks, which he developed with New York underwear manufacturer BVD.

THE SATURDAY EVENING POST 111

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