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Portrait Beauties of the 1930s, Clad in the Latest Fashions

Braïtou-Sala (French, 1885-1972) • Portrait of Madame André Bayvet • 1933

Mary Elizabeth Tripe (New Zealander, 1870 – 1939) • Mrs N.S. Falla • 1932

Right: David Jagger (British/English, 1891–1958) • Ruth Julia Drummond-Jackson • 1930s • Sheffield Museum

Left: Alfred Henry Collings (British, 1868-1947) • Portrait of a Lady

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Plaid for the Holidays

Right: George Watson (1767 – 1837) • Portrait of Lady Elizabeth MacGregor • 1828

Left: Scotland Tartan silk dress • 1812 • Museum at FIT

Left: Tartan silk evening dress by Madame Elise worn by Queen Alexandra in 1870 • Fashion Museum Bath

Right: Wool Scottish tartan and velvet day dress • c. 1888

Drummond silk tartan dress. This silk dress was made for Lady Willoughby d’Eresby to wear at a ball held during Queen Victoria and Prince Albert’s visit to Drummond Castle in Perthshire in 1842.

Courtesy of Fashion of Bygone Days on facebook

White blouse with lace insets, wool skirt, wool jacket with velvet trim, velvet purse and hat • c. 1905

Traditional Tartan plaid doesn't appear to have been popular in the 1920s, but I was able to track down these festive looking dresses. The one on the right is a Paul Pouret silk taffeta with an underskirt.

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1940s Fashion History Mini Lesson

The 1940s were, of course, marked by World War II and the sacrifices and rationing that were enacted. War shortages applied to many products, including fabric. Women were told to "make do and mend".

This photo depicts hemlines being measured in the name of austerity, not modesty. Designers who dared create and showcase floor-length gowns were met with protest and even picketing.

By the start of the war, silks and satins were reserved for war purposes. Gone were the sleek, bias-cut gowns trailing the dance floor. Instead, the simple, minimally adorned utility suit became the woman’s uniform. The uniform was characterized by its boxy look, a nipped waist, padded shoulders, and the hem just below the knee.

Even bridal and special occasion women's clothing was in the suit style, though of whatever finer fabric than wool was available for purchase with ration coupons. And, perhaps whatever was available as embellishments.

The Vogue, January 15, 1942 issue contained this quote about the suit uniform:

"A suit to work in, serve in, live in, all through the busy daylight hours of your new double-duty life”.

By 1947 Christian Dior opened his Paris store and revealed a new silhouette. The Dior "New Look" was dubbed Carolle” or “figure 8,” a name that described well the prominent shoulders, accentuated hips, and small waist, as seen in the outfits above.

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Plumb-Brown (1800s – 1930s)

1810s & 1820s

1850s 1840s

1870s & 1880s

1910s

1920s 1930s

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Painting to Dress Match-up – Regency Era

The painting: François Gérard (French, 1770 - 1837) • Désirée Clary Königin von Schweden • 1808

The dress: A period recreation

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The Painted Women of Braïtou-Sala (French, 1885-1972)

He was the favorite portraitist of the "beautiful people " of the interwar period. First actresses and singers, and then, as his reputation grew, wives of industrialists or financiers. Abandoned by their husbands traveling on business, these idle women had time to pose for him. He painted a few dandies, too. For these people of the "high society", Braïtou-Sala was "the Tunisian painter".

Standing Portrait of Young Woman with Red Shoes • 1926

Portrait of Marie-Jeanne aux Hermines • 1935

Élégante à la rose • 1922

Left: L'illustration magazine cover illustration • 1928

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Gorgeous Edwardian Greens

Evening dress • Lucille Ltd, Paris • c. 1918 - 1920 • Silk, gold-embroidered net, satin binding, silk flowers • National Museum of Scotland

Read more about this dress here.

Evening dress • Green silk satin, green voile embroidered with gold-colored glass beads and green chenille thread • c. 1913

Laferrière Creation • 1909 | House of Worth • 1900

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Painting to Dress Match-up

Left: Fortuny Delphos gown

Right: Augustus John (British/Welsh, ) • Portrait of Vera Fearing (wearing what appears to be a Fortuny Delphos gown) • 1931

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The Cape, 1800s Style

Probably European • Wool and silk • 1840s • Metropolitan Museum of Art

American or European • 1850s • Wool, silk, and cotton

British • 1860s • Wool and silk

American • Wool • 1870s

French • Silk • 1880s • Metropolitan Museum of Art

1890s • Machine-made lace • House of Worth • Rijksmuseum, Amsterdam

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Painting to Dress Match-up

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Edwardian Furs – Fashion in Portraiture

Philip de László (Hungarian, 1869–1937) • The Honourable Victoria ‘Vita’ Sackville-West • 1910

Left: Gerta Wegener • Lady in a Large Hat • 1909

Right: Gretchen Woodman Rogers (1881–1967) • Woman in a Fur Hat (self-portrait) • c. 1915

Gustave Poetzsch (Swiss, 1870–1950) • Portrait of Marie-Thérèse • c. 1910s

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Fur-trimmed Vintage Fashions

1920s dress • Silk chiffon, satin lined, jet beads, fur cuffs

Right: 1920s beaded dress with fur trimmed hem and cuffs

Left: Paquin evening dress, c. 1923 - 1924, Black silk crepe, gold lamé, sewn embroidery of coloured beads, transparent beads, gold thread and chainstitched coloured silk thread; mirror glass; fur.

Right: Paul Poiret, c. 1913, silk with sequin embellishments and fur trimmed hem and cuffs

Left: 1930s Crushed velvet bias cut dress with mink fur trim

Evening dress by designer Marguerite, c. 1915 • Metropolitan Museum of Art

This evening dress reflects the transitional period around 1915 when dressmaking included a mix of materials. Here chiffon, fur and velvet are used. The silhouette shows the popular pannier shape of the time. Although a variety of textiles were employed, the design is less complex than the embellished work of the Belle Époque.

– Metropolitan Museum of Art

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1920s and 30s Orange Velvet Fashions

Orange, rust, or cinnamon – whatever the color name, it is exquisite and was very popular in both the 20s and the 30s.

William Rothenstein (1872-1945) • Gladys Calthrop • 1922

Yummy 1930s Gowns

1920's Formal Dresses

Alfred Egerton Cooper (British, 1883–1974) • Lady in Red Velvet • c. 1930

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Painting to Dress Match-up: a painted dress and its exact dress or a close match.

Alfred Stevens (French/British, 1823–1906) • Déjà (Already) • 1862-64 •

1860s day dress • Copper tafetta

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Portrait Beauties of Victorian England

All by Edward Hughes (British/English, 1832 - 1902)

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Japanese Insired Coats of the 1910s

Maison Amy Linker • Paris

A coat with a silhouette like an outer robe for kimono was described as a “manteau japonais” by fashion magazines of the time, and the silhouette of this particular coat is reminiscent of the “uchikake” robe worn by kabuki actors or oiran courtesans in ukiyoe prints. The boldly striped collar is probably inspired by the “date-eri” collar style used in kabuki costume. The flower-like motifs executed in embroidered beads look like the traditional “hanakatsumi” motif that became popular in late Edo-period Japan when favored by kabuki actors. In contrast, the motifs on the bordered panel on the back resemble motifs used around the Mediterranean in ancient times, and could reasonably be called palmettes. This coat is an excellent example of oriental-style wear packed with eclectic elements that were fashionable early in the 1910s. Maison Amy Linker opened in Paris in 1900, specializing particularly in coats and suits. Its latest products were frequently seen in French fashion magazines early in the 20th century. The house is perhaps best known for introducing sporty fashions in the 1920s.

Many of the era's most prominent designers created manteau Japonais. Below are a few more examples of Japanese inspired cocoon coats of the era.

Two Paul Poiret Japonaise manteau

Jean-Philippe Worth • c. 1910

Right: Jaques Ducet embellished house coat

Left: Mariano Fortuny kimono coat • 1910s

Evening coat • French • c. 1912

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1930s Knits

A topper with a lining matching the belted sweater. This outfit would work today! Makes me want to learn knitting.

Sleek and sophisticated pencil skirt and peplum sweater that gives the illusion of a jacket.