1920's Black velvet with black lace Robe de Style dress
Black velvet with black lace Robe de Style dress; black black velvet with black lace Robe de Style dress; black lace overskirt extended out at hips by thick wired cord decorated with beads, the dress further trimmed with thin sequined strips attached at center front and back waist; size 10 silk velvet; lace; sequins
HCT.1999.43.2
1922-1923
<span>Additional fiber images and information available at <a href="http://cameo.mfa.org/wiki/1920-1929,_black_velvet_with_black_lace_robe_de_Style_dress,_cotton_lace" target="_blank" rel="noreferrer noopener">the CAMEO Materials Database at the Museum of Fine Arts Boston.</a></span>
1920's green silk dress with gold beading and sequins
Green silk dress, gold beading, sequins, gold thread embroidery, large bow on back.
HCT.1997.5.1abc
1920-1929
1920s Man's Blue/White Houndstooth Suit
1920's men's three piece wool tweed suit, small hounds tooth weave in blues, grays and whites. The jacket is cut very much like the sack jacket of the 1910's, straight and boxy, though the length of the 1920's jacket is shorter. The jacket closes at center front with three light brown buttons, probably Bakelite, and features a sunburst pattern etched in the surface. The buttons sit in keyhole button holes. The jacket closes high on the chest, at the sternum which was typical for the time, and has high notch lapels. Under collar is gray felt. There are four welt pockets; two double welt pockets with flaps on either side of the front at the hip, one single welt at left chest, and one single welt inner pocket at right breast. The jacket is lined in a brown silk/linen and the sleeves are lined in a yellow, white and blue stripe silk. The two piece sleeves are finished at the hem with faux plackets with three tan buttons. The vest is made in the same wool tweed as the jacket and trousers. The vest closes with five buttons made of the tan Bakelite with sunburst pattern as the jacket. It features a high notch collar which is tacked down at the points, and four single welt pockets (2 at chest and 2 at waist on either side of the center front). The back of the vest is made of the same brown silk/linen as the lining of the jacket. Vest front opening is self-faced and front and back of the vest is lined in a small black and white cotton gingham. There is a one inch vent at the hem on either side seam for ease and an inverted scallop at center back hem. The matching trousers are high-waisted and straight legged. The trousers close at center front with a four button fly. The top button sits at the seam between the waist band and the trousers and faces in, toward the wearer. The button has two stars and says Pride Akron." This button sits in a keyhole button hole faced with brown felt for strength. Waistband is faced in the same black and white cotton gingham as vest. At the center front closure, where the top button faces inward, on the outside of the fly there is a narrow belt loop. There are three more wider belt loops (1.5 inches) on the waistband, one on either side seam and one at center back. There are also six brace buttons (suspender buttons)a pair of buttons on either side of the front on the inside of the waistband and two buttons which sit on either side of center back belt loop on the outside of the waistband. There are two curved double welt back pockets (one on either side)a pair of buttons on either side of the front on the inside of the waistband and two buttons which sit on either side of center back belt loop on the outside of the waistband. a pocket at each side seam and a watch pocket on the right front. The pants are unlined and edges are overcast in a machine zig-zag. Inseams are plain, side seams are flat-felled. The hem is turned under 1.5 inches and hand stitched up, with the angle of the hem very deep from front to back so as to not have a break in the trouser leg.
HCT.1996.7.16a-d
1922 Silk Satin and Lace Wedding Dress
An off-white satin dress with lace overlay (full front, top part in back); tubular silhouette; calf length; round neckline trimmed with satin; low waist line, enhance by wide satin sash ending in a bow on the left side; set-in cap sleeves, end of cap sleeves attached lace butterfly wings with satin wristband; silk satin train starting at shoulders.
HCT.1999.19.2a
1922
1920s White Beaded Wedding Dress
Off-white silk crepe, straight cut wedding dress. Round neck, sleeveless. Rhinestone studs in the body of the dress, clear and white beaded floral vine along the sides and at the hem. 1925 Headpiece designed for the exhibition by Jennifer Brown for Romance Studio.
HCT.1989.528.1a-e
1925
1925-1929 Black silk satin dress with ribbon embroidery
Black silk charmeuse sleeveless dress dating from mid to late 1920s. This beautiful sheath dress features a deep plunge V-neck and a slightly dropped waist which is self-piped above a skirt that has been sewn in three rows of stitches and gathered into the waist. The shawl collar is made of a light pink (blush) silk charmeuse, cut on the bias, it also lines the inside of the bow at the bottom of the neckline. The bow was made by cutting two rectangles, one in black and one in pink, stitching up the long sides and then sewing the short ends together. The bow was then gathered and, much like the skirt, and stitched to the dress with the top of the bow folded down to reveal the light pink contrasting fabric on the inside. The panel within the neckline of the bodice is of a fine silk tulle that has been decorated with three roses made of a light pink knit and curls of pink ribbons at the centers. Five leaves of various shades of green ribbon and embroidery yarn were embroidered around the center rose. Three rows of a narrow blue ombre ribbon have been over stitched in three rows in a twist pattern (five strands in each twist). The rest of the panel is covered in a narrow lace ribbon in a wandering pattern over the tulle. The bottom of the skirt is made in the same way but the embroidery overlaps the black silk of the skirt integrating the hem of the skirt into the main body. The dress closes up the left side with black metal snaps and a hook and eye at the waist. The panel within the neckline is backed in a light pink plain weave silk. The panel has been hand stitched onto the dress with thick black thread, stitches on the front of the dress lie under the collar. The bodice is lined in the light pink plain weave silk. A wide, two inch, strip of the pink silk was cut and trimmed, top and bottom, in the same narrow lace the decorates the panels. This wide ribbon was then placed over the interior waist of the dress and hand tacked down to cover/finish the raw edges of skirt and bodice. The armhole facings are made of half inch bias stripes of black charmeuse. Tag at right waist reads "Claire Gowns, New York, Paris, Made by Starr and Herbert."
HCT.1984.29.1
1925-1929
<span>Additional fiber images and information available at <a href="http://cameo.mfa.org/wiki/1920-1929,_black_silk_satin_dress_with_ribbon_embroidery,_silk_lining_fabric" target="_blank" rel="noreferrer noopener">the CAMEO Materials Database at the Museum of Fine Arts Boston.</a></span>
Vionnet, Madeleine Pink Chiffon Dress
Pink color silk crepe and chiffon bias cut dress and slip; BODICE: silk crepe yarn/plain weave, bias cut, deep sleeveless armhole, V neck, waistline van-dycked, bodice fabric twisted over at shoulder to reverse at the back, seams at neck and armhole exposed on right side- all of self fabric-hand stitched; SKIRT: 2 tiered chiffon skirt, handkerchief hem cut in 4 panels- squares which have been ingeniously folded and van-dycked at the waist, thereby creating an uneven double length of the handkerchief hem; SLIP: shoulder strap, side bust darts, normal waist seam, wider band at hip, 2 tier bias cut handkerchief hem at bottom; the dress is mid-calf length, long; gross-grain ribbon label with green chain stitch embroidered name : Madeline Vionnet.
HCT.1988.318.146ab
1926-1929
Fortuny, Mariano; Black Silk Delphos Gown
Black, silk delphos gown The technique for the pleating of Fortuny gowns is unknown. The shoulder seams are sewn seams (earlier gowns were laced) and on the underside of this shoulder seam there is a strip covering the seam allowance and attached to this strip is a bra strap holder, a short length of silk on a garment to keep the dress and the strap in place. The neckline in a black silk ribbon and acts as a casing for a thin black cord that runs around the neckline to add strength (for holding up the dress) and allows for some shaping of the neckline. The side seams are left open at the armholes and are then closed down to the hem of the gown. The side seams are decorated with round black and white beads, 34 down each side seam and 14 around each armhole, strung on a thin black cord and hand sewn to the seam between the beads.
HCT.1987.191.4ab F
1924
Patou, Jean, Gold Lamé Dress
Gold and green lamé brocade short 2 piece evening dress; pattern motif-Persian (Saffavid) exotic animal and bird motif; (tunic top) round neckline trimmed with pink/white beads and gold thread embroidery on net; sleeveless top; neckline and armholes are bound; satin bow in low center front; (underdress) white silk satin bodice attached to skirt, wide straps; skirt-double knife pleat in front, Van Dycke hemline trimmed with white/pink beads and cut gold/steel beads; dress is not lined; Model No. 049213.
HCT.1987.318.26
1925-1927
Poiret, Paul; orange silk crepe dress
Dark orange silk crepe dress; loose fitting; bodice front- slight V neckline, bodice back-deep V neckline; faux cape back; round neckline; front bodice necklines trimmed with gold metallic lace collar; bodice gathered down the center front, trimmed with 1
HCT.1989.318.11
1922
<span>Additional fiber images and information available at <a href="http://cameo.mfa.org/wiki/1920-1929,_Poiret,_orange_silk_crepe_dress" target="_blank" rel="noreferrer noopener">the CAMEO Materials Database at the Museum of Fine Arts Boston.</a></span>