The Jazz Age, 1920–1930

Evening Wear in Louisiana, 1896–1996

Online Exhibitions


The style shifts that preceded World War I accelerated after 1920. The nation's youth embraced jazz, the music of New Orleans, along with new dances such as the Charleston. Sleeveless dresses, scooped necklines, and knee-length hems represented a departure from chaste Victorian mores. In 1923 the "Women's Own Page" of the Shreveport Times offered suggestions for a fashionable new gown, beginning with a "wondrous fabric of gold gauze chiffon brocaded with scarlet velvet poppies." The cloth would suit a "simple slip-on chemise frock...bound in scarlet taffeta, and....worn over a slip of gold charmeuse." Even Carnival queens wore flapper style gowns. By 1931, one New Orleanian would complain, "Bare legs have lost their novelty."

The Changing Twenties

The silhouette of the 1920s was a variation of the elongated tubular form introduced in the previous decade. The waistline was lowered to the hip. Hemlines gradually rose and reached the knee by 1924. Within three years they began to descend again. Some fullness was achieved with flairs, flounces, and pleats. Sleeveless dresses were deemed appropriate for evening wear only.

During the 1920s, haute couture took on the structure it has today. Paris design houses developed two collections a year, one for the spring and one for the autumn social seasons. Each designer presented prototypes on models in his or her salon. Garments selected by clients would then be copied and made to order. This entailed several fittings and work by many seamstresses and apprentices. The simple shapes of this period were easily adapted to standardized sizes. This, along with the introduction of electronically powered sewing machines in factories, led to mass production and distribution of new clothing styles. Consumerism in the United States was revolutionized and the number of fashion magazines escalated, providing immediate information on fashion trends.

(left) Evening gown, Paul Poiret, ca. 1929. Gift of Mrs. Sidney J. Besthoff, Jr., Worn by Mrs. Sidney J. Besthoff, Sr., née Florence Stich. Louisiana State Museums 1982.131.13. (right) Evening gown, Unknown maker, ca. 1919. Gift of Mrs. Ethel Lindsey. Louisiana State Museums 1961.014.2.
Evening gown (left)
Paul Poiret, ca. 1929
Gift of Mrs. Sidney J. Besthoff, Jr.
Worn by Mrs. Sidney J. Besthoff, Sr., née Florence Stich
Louisiana State Museums 1982.131.13

This gown was worn to the donor's wedding by her mother-in-law and is an example of the lower hemlines worn by the end of the 1920s. Although the innovative designer Paul Poiret was struggling to keep his Paris couture house open by this time, one of his great contributions to women's fashions—the elimination of the corset—is in full view in this lightweight and almost shapeless gown.

Evening gown (right)
Unknown maker, ca. 1919
Gift of Mrs. Ethel Lindsey
Louisiana State Museums 1961.014.2

Following World War I, gowns became shorter, revealing ankles as well as elegant shoes and stockings. This length was appropriate for various evening events, even the most formal balls. Décolleté designs were no longer fashionable.
Evening gown, Madame Besserat, New Orleans, ca. 1922. Gift of Miss Selika Souchon, Worn by Mrs. Edmond Souchon. Louisiana State Museums 12370.4.
Evening gown
Madame Besserat, New Orleans, ca. 1922
Gift of Miss Selika Souchon
Worn by Mrs. Edmond Souchon
Louisiana State Museums 12370.4

Madame Besserat was a prominent New Orleans dressmaker who was in business from 1917 until the 1950s. This gown is her interpretation of the Paris fashions being created by such popular couturières as Boué Soeurs and Callot Soeurs.
Evening dress and coat, Bergdorf Goodman, New York, ca. 1925. Gift of Dr. and Mrs. Wiley Jenkins. Louisiana State Museums 1970.016a-b.
Evening dress and coat
Bergdorf Goodman, New York, ca. 1925
Gift of Dr. and Mrs. Wiley Jenkins
Louisiana State Museums 1970.016a-b

This ensemble was purchased at Bergdorf Goodman in New York. The simple lines were achieved through highly sophisticated cutting and assembling techniques. Note the joining of the silk velvet with the tulle in the dress to create the slightly flaring hemline.

Hidden from view are wine stains and cigarette burns, which bear evidence to the increased use in public of alcohol and tobacco by women during this period. Cigarette advertisements targeted women with special promotions and promises of weight loss.
(left) Three-piece tuxedo, Abo & Popkin, New York, manufacturer, T. Zoller, New Orleans, retailer, ca. 1920. Gift of Mrs. Corinne M. Kahle and Mr. Edward S. Maunsell II. Worn by Stewart Maunsell, father of the donors. Louisiana State Museums 1982.120.31 a-c. (right) Evening dress, Unknown maker, ca. 1925.
Three-piece tuxedo (left)
Abo & Popkin, New York, manufacturer
T. Zoller, New Orleans, retailer, ca. 1920
Gift of Mrs. Corinne M. Kahle and Mr. Edward S. Maunsell II
Worn by Stewart Maunsell, father of the donors
Louisiana State Museums 1982.120.31 a-c

Evening dress (right)
Unknown maker, ca. 1925
Gift of Mrs. Mary Davis
Worn by Mrs. Juanita Davis, mother-in-law of the donor
Louisiana State Museums 1993.036.01

This short evening dress shows the typical style of the "flapper," with its boyish and slim silhouette and short hemline. The loose cut allowed the wearer to dance such popular dances as the tango, the Charleston, the shimmy, or even the waltz with ease.
Design for a bridesmaid's gown, Berley Studios, New York, ca. 1925. Gift of the Fashion Group of New Orleans. Louisiana State Museums 1972.038.02.
Design for a bridesmaid's gown
Berley Studios, New York, ca. 1925
Gift of the Fashion Group of New Orleans
Louisiana State Museums 1972.038.02
Browse Eras

Evening Wear in Louisiana, 1896–1996
Online Exhibition

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