Tag Archives: paquin

Hair Styles for American Girls, World War I Era (Part 1)

Three hairstyles from Delineator, February 1917. One is very high, one has bangs and side-puffs, and one may be — but probably isn’t — a bob.

My usual approach to this blog is to collect a lot of images with something in common, and then thread them together — often with plenty of meandering into by-paths….

The top of a full page of hairstyles for women, Delineator, April 1917.

I  ended up with so many images of 1917 hair styles for European-American women that I’m having trouble dividing them into several posts.

One stream has to do with the remarkable height of some 1917 hairstyles. [And hats.]

A model for Paquin (1917) sports a hair style as extreme as any seen on a runway today.

Another has to do with bobbed hair — pre-1920’s — popularized by dancer Irene Castle and necessitated in Europe by women’s war work in munitions factories. (The U.S. was a late-comer to WW I, so American women didn’t need to adopt shorter hairstyles for safety until 1917.)

Mrs. Vernon Castle  (Irene Castle) was credited with setting the fashion for bobbed hair. From an ad campaign for Corticelli Silks, Delineator, October 1917.

Another view of Irene Castle’s famous bobbed hair; Delineator, ad for Corticelli Silks, November 1917. Both photos are probably from the same photo shoot; she is wearing the same dress.

A third idea I’m wrestling with is the gradual steps toward the bob — from a “fringe” (bangs) in the 1880’s to cutting some of the front hair short (1917) while retaining long hair in back. I suspect that most women took this conservative approach, making the change in increments.

From the Sears, Roebuck catalog, Fall 1917. From the front, the woman on the right appears to have bobbed hair, but her reflection in the mirror shows that her back hair is long and gathered into a bun, secured with a large, fan-shaped comb.

And then I have some ads for products related to hair styles….

The image used with this ad resembles the Paquin model above. It offers to transform your own hair combings into “switches” which could be used to increase the size of your hairdo. Anna Ayers ad from Delineator, March 1917.

A Digression About Hair Combings and Rats

One item often included in an early 20th century Vanity set — or dresser set — was a hair receiver.

A vanity set from Sears, Roebuck, 1917. The hair receiver is at upper right.

It was a jar with a hole in the lid, into which women put their “combings.”

Along with nail files, button hooks, brushes, and containers for cotton balls (No. 8K8744,) containers for hair combings (Nos. 8K8745 and 8K8723) appeared on a lady’s dressing table. Sears, 1917.

That is, when women cleaned hair out of their brushes and combs, they put it into the hair receiver, and, when they had collected enough, they made it into a “rat,” encasing it in a hairnet that matched their hair color and then combing their long hair over the rat to create huge turn-of-the-century hairstyles like those illustrated by Charles Dana Gibson.  The huge hairdos of the 1940’s used them too.

Those Tall 1917 Hair Styles

From an ad for Fashionette hairnets, Delineator, April 1917.

A similar conical style, called the “beehive,” was popular in the 1960s:

“The higher the hair, the closer to Heaven” was a popular saying when “bouffant” hairdos were in fashion. We supported these styles by “ratting” our hair (see “rats,” above). Hairdressers called it “back-combing,” but we always called it “ratting.” You took a strand of hair, pulled it up toward the sky, and, with your other hand, repeatedly ran a comb down it toward your scalp. Any loose hairs were pushed into tangles at the base. Spray with “Aquanette.” Repeat. When your ratted hair was a complete, tangled mess, you carefully brushed the outer layer smooth  and sealed it with a final layer of hairspray. I remember a classmate who had a conical “beehive” hairdo done before a prom. By carefully wrapping it in a scarf at night, she preserved it for several days. It gradually deflated, though, so by Friday, her light brown beehive looked like she had a cow patty on her head….

High Hair, 1917

High hair for evening, accented with a jeweled comb, from an article in Delineator, April 1917. The waves are probably a Marcel.

Back in 1917, you could also use Silmarine to set your hair — it probably increased volume, too.

Ad for Silmarine hair setting lotion, Delineator, March 1917.

The Sew Historically website has an extensive set of recipes for shampoos and for Bandoline, the 19th century predecessor to hair spray.  In 1917, you could wear an invisible hairnet:

Another big hair style from a Fashionette hairnet ad. Delineator, August 1917.

The blonde woman with a similar gravity-defying hairstyle is wearing a house dress, not an evening gown. Delineator, January 1917.

Two high hairdos flank a less extreme style in April 1917. Delineator magazine.

A high, conical hairdo from an article in Delineator, April 1917. “The high hair-dressing is new, and adds a generous cubit to your stature.” This was not just a style for evening, as seen from other illustrations.

Did any ordinary women get their hair to look like this? Yes.

This pretty girl with a lap full of kittens posed in the homely back yard of my grandmother’s house. Circa 1917.

Not all hairdos were tall enough to “add a cubit to your height.”

This woman’s long, Marcel-waved hair [her “crowning glory”] is worn close to her head, and caught in a large chignon at the nape of her neck. This style persisted into the 1920’s and early 1930’s. Delineator, April 1917.

The next photo contains a mysterious reference to eating “bread crusts to make your hair curl.”

Her low hair style has a cluster of curls in back. April, 1917. Delineator.

Are they real, or did she buy them?

A “switch” in the form of a “string of curls” was offered in this ad from Delineator, February 1917. Ad for Frances Roberts Co. –“The Mail-Order Hair House.”

Gradually Working Your Way Toward Bobbed Hair

Two women from a Sears’ catalog, Fall 1917. Although at first glance their hair appears as short as Irene Castle’s, a closer look shows a small bun at the back.

In the 1920’s the bun was eliminated:

https://witness2fashion.files.wordpress.com/2015/02/1924-oct-p-25-patterns-top.jpg?w=500&h=404

Short, “shingle” haircuts from October, 1925; Delineator. The front of the hairdo is much like that of 1917.

Short Hair on Women Marked a Social Change

Long hair used to be the only option for most women. Delineator, March 1917.

A woman’s long hair was said to be “her crowning glory.”  In Victorian times, cropped hair was often a sign that a woman had suffered a severe illness (as in Conan Doyle’s story, “The Copper Beeches.“)

Dresses for girls 8 to 15, Delineator, May 1924. The one on the left has long “Mary Pickford” curls, associated with innocence.

Men saw long hair paradoxically, as both sexy and innocent: young girls wore their hair loose and long, and young ladies “put up their hair” around sixteen, as a sign that they were now adults — and ready for marriage.

Cutting it all short at one time — like Irene Castle — took a lot of courage, especially in 1917. My mother and her best friend shocked their families when they bobbed their hair around 1922. They were the first girls in town to do it.  Back in 1918, my mother was working up to it gradually — and that is a story for another day. (Part 2)

My mother’s eighth grade graduation picture, circa 1918-19.

She has done her best to simulate the high hair and cheek puffs of fashion illustrations — without cutting her hair.

 

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Filed under 1900s to 1920s, 1960s-1970s, Hairstyles, Musings, Old Advertisements & Popular Culture, vintage photographs, World War I

Andre Collection at NY Public Library Digital Collections

Andre Studio Collection: Reefer Coat design by Pearl Levy Alexander, 1939. Copywight New Your Public Library.

Andre Studio Collection: Reefer Coat design by Pearl Levy Alexander, 1939. Image Copyright New York Public Library.

Andre Studios in New York was a business which produced sketches of French couture, with variations for the American market, selling the sketches to clothing manufacturers from about 1930 on. A collection of 1,246 Andre Studios sketches from the 1930’s is now available online from New York Public Library and from the Digital Public Library of America (DPLA.)  The name on most of the sketches is Pearl Levy Alexander, and that is the best online search term.

NOTE: please do not copy or republish these images; their copyright belongs to the New York Public Library and they have been made low resolution as required by NYPL.

An excellent article about the Andre collection can be found here as a pdf. (The name of the article’s author is missing!) It explains how (usually unauthorized) sketches of couture wound up in the hands of dress manufacturers, to be copied or modified as they worked their way down the economic scale, eventually reaching the cheapest parts of the mass market.

In fact, Pearl Levy Alexander signed/designed many hundreds of sketches which included Andre Studios’ suggested modifications and variations of current designs.

The designs in the Andre Collection may include adaptations suitable to the American market, but some have attributions to known couturiers — e.g., “Import R” was their code for Patou —  as on this red wool siren suit (for wearing in air raid shelters) designed by Jean Patou in 1939.

Andre Studio's sketch of a red wool

Andre Studios’ sketch of a red wool “siren suit” by Patou. 1939. “R” was the import code used for Patou. Image Copyright New York Public Library.

You can recognize Andre’s “Import Sketches” of original couture because they were done in black and white; the modified designs, suitable for U.S. manufacture, are more elaborate drawings and use some gouache — white or colored watercolor. This “black marocain” suit is an actual sketch of a Chanel model; in the lower right corner you can see “Spring/Summer 1938; Import Code J = Chanel.”

This sketch says “Designed by Pearl Alexander” but acknowledges that it is “after Molyneux” — not an exact copy.

This boxy coat with construction details is Alexander's modification of a Molyneux design. Copyright NYPL, Andre Collection.

“Boxy coat after Molyneux” 1940, designed by Pearl Alexander, is Alexander’s modification of a Molyneux design. Image Copyright NYPL, Andre Collection.

On the other hand, this suit, dated 1/30/39, simply says it is designed by Pearl Levy Alexander. The sketch is highlighted with white opaque watercolor (gouache) and has a pink hat and blouse.

This black and white sketch is a 1938 suit by Schiaparelli (Import Code AO):

Andre Studio sketch of an original Schiaparelli Suit, with a note about the embroidery. Copyright New York Public Library.

Andre Studios’ sketch of an original Schiaparelli suit, with a note about the embroidery. (1938) Copyright New York Public Library.

If you are looking for designs by particular couturiers, look at the last two images in the collection. They are lists of designers’ names; the “Import Key” for Spring/Summer 1938 is a long list of designers whose work was sketched for Andre’s manufacturing customers, including Chanel, Heim, Lanvin, Vionnet, Nina Ricci, Redfern, Mainbocher, Patou, Paquin, Schiaparelli, Worth, and many less remembered designers, like Goupy, Philippe et Gaston, Bernard, Jenny, et al. You can see it by clicking here.  A search for these individual names may (but may not) lead to a sketch. (There’s also an Import Key for 1939-40.)

Mainbocher design, Andre Studio Sketch. Copyright New York Public Library.

Mainbocher design, 1938; Andre Studios Sketch. Image Copyright New York Public Library.

World War II momentarily cut off free access to Parisian designs, and this particular NYPL collection of sketches ends in 1939-40. However, Andre Studios continued to produce sketches into the 1970’s.

Three Sources for Andre Studios Research

In addition to the portion of the Andre Studios collection donated to New York Public Library — over 1,200 sketches made available online — the Fashion Institute of Technology (NY) and the Parsons School of Design also received parts of the collection of Andre Studios’ sketches and scrapbooks, photos, news clippings, etc., which were donated by Walter Teitelbaum to (and divided among) all three institutions.

The Parsons School has information about its Andre Studios collection here, including this sketch of four coats designed by Dior in 1953. Parson also supplies information about other places with Andre Studios and Pearl Alexander archives.

FIT has not digitized its part of the collection, but researchers can visit it. For information, click here.

Bonus: More Thirties Designs in the NYPL Mid-Manhattan Collection Online

Image from New York Public Library's Mid Manhattan Collection. Copyright NYPL.

Image from New York Public Library’s Mid-Manhattan Collection. Copyright NYPL. “Dormoy’s Frock, Agnes hat, Chanel, Molyneux, Mainbocher.”

Another, completely different collection of fashion sketches from the 1930’s — many in full color — can be found here, at the NYPL digital collection, in the Mid-Manhattan Collection. [Note, when I asked it to sort “Costumes 1930s” by “date created,” images from 1937 came before images from 1935, so don’t assume it’s chronological.]

Nevertheless, if you explore the alphabetical list at the left of the Mid-Manhattan Collections page, scroll down, down down under Costume, and you’ll find many images by decade, before and after the nineteen thirties! I was surprised by this 1850’s bathing costume cartoon:

Morning, Noon and evening dress for a

Morning, Noon and evening dress for a “Watering Place.” Image copyright New York Public Library.

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Filed under 1830s -1860s fashions, 1930s, 1930s-1940s, 1940s-1950s, Bathing Suits, Exhibitions & Museums, Resources for Costumers, Sportswear, Swimsuits, Vintage Couture Designs

Tam-o’-Shanters for Women, 1917

Tams for Women. Ladies' Home Journal, 1917; Delineator, Sept. 1917.

Tams for Women. Ladies’ Home Journal, 1917; Delineator, Sept. 1917.

Tam o’ shanters have been popular hats for women at several periods, including the turn of the century . . .

Women in tams, as pictured in Punch Magazine, 1896 and 1901.

Women in tams, as pictured in Punch Magazine, 1896 and 1901.

the World War I era . . .

Young woman in a fashionable velvet tam, about 1918.

Young woman in a fashionable velvet tam, about 1918.

the twenties, the thirties, the nineteen sixties, and into the twenty-first century:

Tam "Beret" pattern, Vogue # 7980, 2004.

Tam “Beret” pattern, Vogue # 7980, 2004.

Origins of the Tam o’ Shanter

The Tam-o’-Shanter (or Tam o’ Shanter) was originally a hat worn by Scottish men.

Two Scotsmen, as drawn by Charles Keene in Punch Magazine, 1880.

Two Scotsmen, as drawn by Charles Keene in Punch Magazine, 1880.

With them it entered the military . . .

A private in Crawford’s Highland Regiment, 1740, Illustrated by Pierre Turner. From Michael Barthrop’s British Infantry Uniforms Since 1660.

A private in Crawford’s Highland Regiment, 1740, Illustrated by Pierre Turner. From Michael Barthrop’s British Infantry Uniforms Since 1660.

and became part of the official uniform of some regiments, like the Argyll and Sutherland Highlanders.

Tams and Berets

In its simplest form, a tam is just a round or oval piece of cloth gathered into a band around the head.

Some tams are made of two round pieces, or a round piece and a cylinder, stitched together around the circumference; the round hole in the lower piece can be eased into the band with or without gathering. This can produce a crisp look, as in this Vogue pattern illustration from 2004.

Vogue pattern 7980, dated 2004.

Vogue pattern 7980, dated 2004.

Vogue called this a beret in 2004; “tam-o-shanter” had disappeared from the current fashion vocabulary by then. Today, you can find tams – some with a 1920s look – at hats.com, but they are classified as berets, not tam o’ shanters.

A beret.

A beret.

Sometimes the words “tam ” and “beret” are used interchangeably, but a beret usually has a very narrow binding around the head, and a relatively small crown.

Tam, 1917.

Tam, 1917.

The tam o’ shanter usually has a wider band.

Also, the crown of a tam is much bigger than the band, and the tam is rarely symmetrical when worn by women; it tilts or droops to one side or to the back.

Both berets and tams can be worn with the band turned to the inside, where it isn’t seen:

Tam o' shanter, 1925.

Tam o’ shanter, 1925. Delineator.

Tams for Women, 1917

Tams were very popular with women’s fashions during the First World War. This Paris design “for very young women” is by Paquin, as famous in her day as Poiret or Patou:

A chic Paris costume for a 'very young lady" by Mme. Paquin, 1917. Delineator.

A chic Paris costume for ‘very young women” by Mme. Paquin, 1917. Delineator.

Here, a Butterick coat pattern is accessorized with a tam (left):

On the left, a tam worn with a coat by Butterick, Sept. 1917. Delineator.

On the left, a tam worn with a coat pattern by Butterick, Sept. 1917. Delineator.

In 1917, tams could reach rather extreme sizes, something like a chef’s toque (technically, a ‘toque” is any hat without a brim; since tam o’ shanters have no brim,  the line between tams and toques can blur. Most fashion hats described as “toques” are more vertical than horizontal, lacking these huge crowns.)

Women in tams, Sept. 1917. Delineator.

Women in tams (one is like a chef’s toque), Sept. 1917. Delineator.

A tam made of fur and a tam made of velvet; Ladies' Home Journal, Nov. 1917.

A tam made of fur and a tam made of fur or velvet; Ladies’ Home Journal, Nov. 1917.

Tams were also popular because they could be knitted or crocheted:

Delineator crochet patterns, Sept. 1917.

Delineator crochet patterns, Sept. 1917.

Ad for Bear Brand Yarn, Ladies' Home Journal, Oct. 1917.

Ad for Bear Brand Yarn, Ladies’ Home Journal, Oct. 1917.

This young lady got really carried away and made a matching tam, scarf, and handbag trimmed with Vari-colored cross-stitch:

Ladies' Home Journal, Sept. 1917.

Ladies’ Home Journal, Sept. 1917.

A knit tam could be rolled up and stuck in a pocket, which made them handy for wearing to school.

Both Delineator magazine and Ladies’ Home Journal encouraged their readers to economize during the First World War by making new clothes from worn-out or out-moded clothing.  One Home Journal reader bragged that she salvaged enough fabric from her old velvet skirt to make tams for both of her daughters and a “small toque” for herself:

Ladies' Home Journal, Sept. 1917.

Ladies’ Home Journal, Sept. 1917.

Her examples look very much like this soft tam (or toque?) from Delineator magazine:

Delineator, Sept 1917.

Delineator, Sept 1917.

Perhaps the model on the right is explaining that her clever mother made this soft velvet hat from an old skirt.

 

 

 

 

 

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Filed under 1870s to 1900s fashions, 1900s to 1920s, Accessory Patterns, Hats, Vintage Accessories, Vintage Couture Designs