American American Fashion Evolution Theory

In the early twentieth Century, American women were only the first of several European families.

The pattern and mass production of department stores made the United States rise in the first ten years of twentieth Century, and New York became a new fashion capital.

European authority and American democracy

American women envy European fashion.

Several prestigious upper class families, such as the Vanderbilt family (Vanderbilts), the Astor family (Astors) and the Roosevelt family (Roosevelts), are the copy objects of middle-class women, who are all dressed in English and French aristocrats.

However, this passion is confined to the evening dress field. In order to adapt to their busy daily life, they choose a fashionable and practical style for themselves during the day.

At that time, the European feminine S curve was still prevalent. The whole shape consisted of a bell shaped skirt, a stiff taffeta petticoat, a skirt, and a whale bone bra with bee waist, breast and buttocks.

If you put on this dress, people will unconsciously lean back, so the hat should be worn in front as a balance.

In the fashion capital of Paris, the design concept of pursuing nature and comfort was not introduced by Coco Chanel until 1920s.

In this way, American women are 20 years ahead of European celebrities.

Sears Roebuck chain store catalogue 1926

The rebellious style of young Coco Chanel has been suppressed by famous designers represented by Paul Poiret. In the early part of last century, no famous designer had the power of consumers.

Besides the dignitary wives, most women go to department stores to purchase clothing samples from McCall's or Butterick and do them at home.

Professional tailors use this kind of pattern as well, and many stores directly copy European imports.

In order to do business, tailors must listen carefully to customers' requirements.

Most of them were Jewish and Eastern European immigrants, who worked hard and made money. Only in more than 10 years, they laid the foundation for the garment manufacturing industry in the United States.

They gradually began to produce shirts, trousers and hard collars in large quantities, thus turning New York into a new fashion capital.

Of course, no matter what the North American continent was in fashion at that time, the elite designers in Europe knew nothing and did not care at all.

Milicent Rogers, the heir of the oil tycoon, was an American fashion icon in the middle of last century.

Jacqueline Kennedy, the first lady of the United States, represents the American aesthetic view.

Pink collar family and Gibson girl

Women's long shirts soon became the symbol of the new generation of working women in the United States.

In the growing business world, these women, called "pink collar" women, cater to the needs of the major companies for the clerks. The invention of typewriters has brighten their prospects.

In 1870, there were only 7 stenographer in the United States, and by 1900, more than 100 thousand "female typists" had worked in all walks of life.

Pink collar work can be more attractive than working in a factory: an office woman has a weekly salary of more than 10 dollars, two times that of a sweatshop worker.

At the same time, they can also get away from family control and enjoy the pleasure of interacting with the opposite sex.

Single secretary and typist have become the charismatic girls of an era, and they can be found in many romantic novels and films.

It is better than a beautiful secretary to represent the image of American beauty rather than "Gibson girl".

Charles Dana Gibson, the illustrator, created this tall and dignified girl in the illustration of life. Her soft wavy hair fell down from her head and outlined her lovely face.

She is fashionable, independent, with no bad intentions. Women between the ages of 15 and 30 dream of becoming a girl like her.

At that time, the most famous "live Gibson girl" was not Alice, the 17 year old woman of President Roosevelt.

Brave and beautiful Alice always despised stereotypes.

She dares to express herself and dance all night at parties until dawn.

During her visit to Hawaii, she even jumped up the hula dance. At that time, most American tourists thought the dance was too dirty to avoid watching.

Americans love her so much that they even call it "Alice blue" for her preference for blue.

Gibson girl is a microcosm of the new American women. They may be either the working class or the upper class society, but their common ground lies in the requirement of getting rid of the dual constraints of rites and clothing.

Most of them are telephone operators or clerks who live in big cities.

Unlike her mother, Gibson worked in an office without a date.

While changing her way of life, she also brought new ideas to the old Edward dress: she wore a ankle shirt with a man's collar shirt, tied a bow tie, tied a wide waistband around her waist, peddled dark pointed boots, and wore a fisherman's hat.

Of course, the Gibson girls in the rich class do not go to work, no matter how attractive the work life depicted in the magazine novels is.

Her father wanted to let her buy stylish styles and accessories at will, so that she could portray herself as a fashion icon of the new era.

They are Milicent Rogers, the successor of the oil tycoon, and also young Jacqueline Kennedy and C.Z.Guest.

Who is the Gibson girl today?

Is it Paris Hilton, the place where words and deeds come out, or the Blake Lively of the rich family in the upper east side of New York?

From the point of view of Sarah Jessica Parker, the Anna Wintour has its own view.

In the past century, the beautiful American Idol was only 28 years old. It has been called an immortal fairy. What's more, the girl's evolution from a typist to a female writer is evident.

Source: the Bund pictorial