Historical Background of the Mexican Fashion Costume (1910-1940)
Asma Khatun Airin
Dept. of Fashion Design
KCC Women’s College (Affiliated by Khulna University),
The Emergence of the Modern Mexican Woman is the first book in English on women’s participation in the Mexican Revolution (1910-1940) and the Mexican women’s rights movement during this thirty-year period. The work is based on extensive research at libraries in Mexico and the United States and on the author’s personal interviews with some of the few women alive today who participated in the revolution and with family members and friends of those who are deceased.
Mexican Revolution by introducing readers to the heroic women who risked their lives in a long and difficult struggle to attain freedom and equality. . The courageous revolutionary women who laid the groundwork for the emergence of the modern Mexican woman left a rich cultural heritage that challenges her to persevere in the struggle for equality.The Mexican Revolution was a major armed struggle that started in 1910. Over time the Revolution changed from a revolt against the established order to a multi-sided civil war with frequently shifting power struggles. The Revolution is generally considered to have lasted until 1920, although the country continued to have sporadic, but comparatively minor, outbreaks of warfare well into the 1920s. Mexican fashion costume had changed remarkably in the period of Mexican revaluation (1910-1940). In that time women worn different types of fashion costume.
Mexican Fashion Costume for Women(1910-1940):
1. The Lampshade Dress:
In the summer of 1911, 300 lucky guests were summoned to the couturier Paul Poiret’s Thousand and Second Night costume party. Arriving at the grand maison, the exotically attired attendees were greeted by six bare-chested footmen in silk pantaloons. Through a fog of incense, twinkling lights guided partygoers along a garden path laid with Persian carpets. Resplendent in a slashed gold tunic, bejeweled harem pants, and feather-topped turban, Denise Poiret appeared a shimmering beacon of modernity. The Thousand and Second Night extravaganza served to launch not just the harem pant but Poiret’s lampshade tunic.
2. Tunics and hobble skirts:
The extravagances of the Parisian couturiers came in a variety of shapes, but the most popular silhouette throughout the decade was the tunic over a long underskirt. Full, hip length “lampshade” tunics were worn over narrow, draped skirts. By 1914, skirts were widest at the hips and very narrow at the ankle. These hobble skirts made long strides impossible. Waistlines were loose and softly defined. Tunics became longer and underskirts fuller and shorter. By 1916 women were wearing a calf-length dress over an ankle-length underskirt.
3. Suits and coats:
The tailor or tailored suit of matching jacket and skirt was worn in the city and for travel. Jackets followed the lines of tunics, with raised, lightly defined waists. Fashionable women of means wore striking hats and fur stole or scarves with their tailors, and carried huge matching muffs. Most coats were cocoon or kimono shaped, wide through the shoulders and narrower at the hem. Fur coats were popular.
Suits and coats
4. Kimono Sleeve dress:
Kimono sleeve dresses that had been in vogue in 1910.Frocks that year and for several years thereafter were designed with rather loose, bloused bodices and skirts that became increasingly narrower.
5. Afternoon Frocks:
The afternoon frocks of 1916 used fabrics with interesting textual combinations .Velvet and georgette crepe were the most popular of these combinations ,but chiffon broadcloth, suede cloth, and soft twill gabardine were also used extensively.
6. Chemise Frock:
The Chemise frock introduced in 1915 was the result of some designer’s interest in medieval costumes. It was designed with a long, straight, sleeved blouse worn over a slender slip dress. The chemise frock dress was designed with a straight skirt attached to a sleeveless bodice.
7. Formal Gowns:
Formal gowns of the 1920s carried out the figure themes of daytime dresses. Extreme décolletage market the difference between day and evening wear. An extremely simple formal gown usually consisted of a straight long-waisted chemise with thin shoulder straps, deep V-shaped armholes, and plunging V-neckline front and back.
Shoes had high, slightly curved heels. Shorter skirts put an emphasis on stockings, and gaiters were worn with street wear in winter. “Tango shoes” inspired by the dance craze had criss-crossing straps at the ankles that peeked out from draped and wrapped evening skirts. During the war years, working women wore sensible laced shoes with round toes and lower wedge heels.
9. Hairstyles and hats:
Large hats with wide brims and broad hats with face-shadowing brims were the height of fashion in the early years of the decade, gradually shrinking to smaller hats with flat brims. Bobbed or short hair was introduced to Paris fashion in 1909 and spread to avant-garde circles in England during the war. Dancer, silent film actress and fashion trendsetter Irene Castle helped spread the fashion for short hairstyles in America. Hair, even short hair, was frequently supplemented with pastiches, small individual wigs, curls, or false buns which were incorporated into the hairstyle.
I date Art Deco in jewelry starting at end of king Edward’s reign till year 1940. So from 1910-1940. Half way through this time period, Platinum became military metal and white gold was injected into jewelry industry to replace it. There was a competition to make lightest, sturdy platinum settings possible of england which made metal molds for their designs and after making hand full of that certain design they will destroy the mold to keep the model authentic.