The Ease and Elegance of the Early 1920's
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In 1920, Marguerite duBuys, daughter of a wealthy importer in New York City, married
Henry W. Banks III. They settled in Darien and bought a historic 1776 house on the Post
Road near Coach Lamp Lane.
Marguerite's wedding dress reflects the ease and elegance of the early 1920's
style (before the frantic Jazz Age that was to come.)
Made of ecru silk velvet, it has a train and cuffs lined with gold lamé
Gift of Agnes Gorsky
Evening Bag - Beaded with rose motif, cut steel bead fringe, kidskin lining
As was the custom at weddings of the day, guests left calling cards
Gift of Mariah Branch
Below:
In keeping with the Neo-Classical style of the early 19th Century, footwear
was simple without heels. Each shoe was identical to its mate, thus pairs of shoes
were called "Straights." By the mid 19th Century, shoes were fashioned for the
left and right foot.
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Shoe: White Satin "Straights," ribbon ties.
Gift of Mrs. L. Murray Franklin
Miss Sarah Morehoouse wore these wedding shoes when she
married Mr. Jeremaiah Sackett in 1840 at the Darien Congregational Church
Wedding Boot: White satin, white buttons, rosette trim, mid kidskin heel. C. 1870
Gift of the estate of Mrs. Lucius Barnes Barbour
Shoe: White Leather "Straights," silk rosette trim, late 18th C.
Gift of the estate of Catherine Frederick Kaugh, worn when she married
Mr. Samuel H. Hand
Thread Lace Shawl
Gift of Mrs. Marsden London, worn by her "Grandmother West" in early 1800's
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Display by Babs White and Susan Helms.
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The 1900's: Art Nouveau Arrives
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1900 was a culmination of Victorian mores and an eruption of many styles and ideas that had been
forming in the late 19th century. Influenced by Nature and new technology, but also by Gothic,
rococo and oriental styles, Art Nouveau developed. It flourished in many cities: Paris, Brussels
New York, Vienna, Barcelona and Glasgow. At times beautiful, at times sinister and perverse,
it inspired artists such as Emile Gallé, Louis Comfort Tiffany, Antoni Gaudi, Hector
Guimard, Gustav Klimt.
1900 was also a transition period for women. They were still under Victorian restrictions yet looked forward to liberating ideals. Women were still rigidly corseted but with a new "Health Corset" which pushed the bust forward creating a "pouter pigeon" shape while rounded hips were thrust back into the new S-curve silhouette. Their many social activities were supported by an army of cheap labor such as milliners, hairdressers, dressmakers and personal maids.
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Dress - Pinstripe silk taffeta, pale green and pink taffeta trim with white embroidered
batiste, lace, braid and tiny buttons.
Gift of Mrs. Louise McLean, worn by her aunt, Mrs. Louise Delabarre Penniman
who wore it to the Paris Exposition Universelle, 1900. Label: Felix Durocher, Paris
Hat - Black velvet, black and grey ostrich feathers
Gift of Mrs. James Farrell, Jr., worn by her mother, Mrs. Edward Hill. Label: Strope, Detroit, Michigan
Fan - Leaf, handpainted floral motif with sequins, decorated wooden sticks and
ivory guards, natural cotton tassel.
Handbag - Black satin pouch with cut-steel bead design
Gift of Mrs. M. L. Vick
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Fan - Silver paper leaf, with cupids, decorated wooden sticks
Card Case - Tortoise shell with inlaid silver motif
Gift of Mrs. E. Clemetson Goffe
Fan (on chair) - Mother of pearl sticks with sheer silk leaf, hand painted scene.
High-backed Comb - Amber colored celluloid*. Pierced design.
*Celluloid, formulated in 1868, was the first plastic. It was used for shirt collars, dentures,
piano keys, photo film and combs as a substitute for tortoise shell, therefore affordable for all.
Handbag (on chair back) - Lavender and white warp-printed taffeta. Art Nouveau design on gilt frame.
Gift of Mrs. Robert Kaufmann
Lorgnette - Folding amber-colored celluloid*. Monogram.
Gift of Mrs. Virginia MacGregor
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Folding fans, which originated in Japan, reached Europe in the 16th century and soon became
a luxurious fashion accessory to aristocratic society. In the 18th century, France became the leading
producer of fans, employing fine craftsmen and painters who painted allegorical and romantic
subjects, many influenced by Boucher and Watteau. With delicately painted leaf and richly
decorated sticks, the fan was the subject of admiration at social events. It would also offer
encouragement to a would-be lover, convey secret massages, and, with a peep-hole or tiny mirror
(see below), enable a lady to discreetly survey the party.
This elaborate 18C. fan is probably the oldest in the Historical Society's collection. On the paper leaf
is a painted allegorical scene surrounded by a rococo design enriched by gold foil. The blade-like ivory
sticks are decorated and pierced with a fanciful floral design and another romantic scene. On one of the
guard (outside) sticks is a tiny peeking mirror. On the reverse side of this handsome fan is another
equally detailed painting on the leaf.
Display by Babs White and Susan Helms.
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Victorian Mourning Customs
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The Victorians were obsessed with death. Partly because of the high mortality rate, it became a
familiar domestic event. The Victorians developed elaborate rituals as a way to express their
grief and women took the most prominent part.
A widow was expected to go into deep mourning wearing a dull black crape. After two years the widow could add grey or lavender to black. Thus society was able to determine each stage of her mourning. Mourning periods for other close relatives ranged from one year to three months. Bereavement touched every aspect of daily life from embroidered memorial pictures and prints,
poetry and novels, as well as jewelry which often included a lock or plait of hair from the loved one.
In response to callers, widows sent black bordered notes, receiving visitors after a month. Queen
Victoria extended her bereavement for forty years until her death in 1901.
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During the first phase of mourning, women wore only dull jet. In later stages several types of mourning jewelry were available - cameos, lockets, shiny jet and hair jewelry.
In its December 1850 issue, Godey's Magazine and Lady's Book published "Hair Work" with directions for this "drawing room occupation."( The hair of a loved one was inserted into jewelry.)
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We are most grateful to the historical society of the town of Greenwich
for lending us #1 - #9, to the Norwalk Museum for #10, and to two private
collectors: Ms. Susan Gunn #11 & 12, Mrs Robinson Whiteside #13, and
Mrs. R. O. White #14.
Display by Babs White and Susan Helms.
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At the Guild Hall Exhibition
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Truly the Dancing Decade, the prosperous Twenties saw the
development of modern technology, abstract art, and a
new social realignment. Improved clothing production methods
enabled the middle class to participate in the
world of fashion. Mail order catalogs like Sears Roebuck
were popular and could offer women at least a taste of
Parisian chic.
As the decade progressed, moreover, autos came within reach
of the average family and freed women to go to
stores and specialty shops to select merchandise. By
the middle of the 20's, everyone was enchanted by the new
"Flapper" or "Garconne" look - low waist, flat bustline,
short skirt. From Paris, Chanel and Patou designed casual
clothes with easy pleats and gathers. Skirts reached their
shortest (knee length) in 1927.
LEFT:
Dress - Ecru silk - inspired by Chanel, this dress expresses the casual "Sportif" look
with inverted pleats in skirt. C 1928
Gift of Mrs. Christopher Klumb
Hat - Raspberry straw and pleated silk. C 1924
Label: Gilman Importers, NY
Shoes - Green kidskin, green and gilt strap. C 1925
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RIGHT:
Dress- Pink cotton voile. Influenced by Cubists and Fauves,
the French designer of this dress used geometric abstract patterns expressed
by appliqué and contrasting color blocks. C 1926
Gift of Mrs. Nancy Nash.
Hat - White felt cloche, green striped cockcade.
Shoes- White suede strap, Louis heel.
Handbag- Chinese - Embroidered white satin, metal frame. C 1912
Gift of Arthur Bibbins.
The Darien Guild of the Seven Arts was founded in 1927 by an enthusiastic
group of artists interested in expanding cultural horizons in their community. The
Guild Hall was located at 182 Post Road and later, on Old King's Highway.
Membership included James Daugherty, whose murals can be seen
today in the Town Hall and Holmes School, and Bernhard Gutmann whose paintings are included
in the current exhbition at the Bruce Museum in Greenwich. The Guild flourished for
9 years and finally disbanded in 1936.
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Be sure to see examples of the group's works in our library and in this display case.
Left wall - Watercolor by Dorothea Warren O'Hara
Right wall- Oil landscape by Lucy Walmsley
In the model's lap- Oil landscape by Lucy Walmsley
Display by Babs White and Susan Helms.
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After the Armistice, 1919: A Change of Fashion
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In 1919 Europe and America struggled to return to normalcy
after the end of "The Great War." Fashion was in transition and
hung on to some earlier styles; at the same time, it showed a
yearning for change. Fashion was about to launch the flamboyant
Twenties which would celebrate the sensuous chic of the newly
liberated woman.
Dress - Layered black net. Black sequined bodice and band at hemline.
Gift of Anita Brunner Estate
Cape - Black sealskin. Label: George Knies, Philadelphia.
Gift of Mrs. Robert O. White
Handbag- Black tricot, silver peacock motif. Silver frame.
Gift of Mrs. John Foster; worn by her mother, Mrs. Eleanor Hayward.
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Comb - Tortoise shell, rhinestone motif.
Shoes- Black leather, Louis heel, gold bead design on toe.
Fan - Black ostrich, tortoise shell sticks.
Binoculars - Abalone and gilt
Valentines - from the collection of the Darien Historical Society.
Display by Babs White, Susan Helms, and Avery Flowers. |
A Victorian Christmas Eve
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The Christmas holiday with all its happy traditions,
carefully nurtured by Clement Moore, Washington Irving, and Charles Dickens, is largely a
19th century invention. Festivals, as far back as the times of the Pagans and the Romans,
meant revelry and rowdiness; instead, the Victorians estalished their own new customs and
traditions and focused on the family.
A drawing of Queen Victoria's family standing around their tree, Thomas Nast's creation of
the Santa Claus we know, and many other Christmas symbols all set a glorious image still
in our hearts today. Merry Christmas!
"Cage Crinoline" - wire hoops held by cotton tapes. 19 C.
Brooch and matching earrings- agate cameo. 19 C.
Dress - two piece red silk plaid taffeta.Due to the influence of Queen Victoria and her love for Scotland, plaids were very popular in the 1860's.
Gift of Mrs Richard Allen
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Tree below - Up until the late 19th century, table top trees were traditional. Glass ornaments were not yet imported from Germany. Instead the tree was trimmed with handmade ornaments, tiny gifts and cards. During the Civil War, Northerners placed small American flags on their tree.
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Boys suit - two piece black wool, white button trim, c. 1860's. This may have been a "first suit." During this period, boys wore dresses up until age 5 or 6.
Gift of Bertha Mather McPherson, worn by her great uncle, Josie Mather.
Christmas stocking
Hand-knitted by C.C. Lefferts.
Table - carved walnut, marble top.
Gift of Mrs. Richard Groppa.
Print - "Winter in the Country" by Currier and Ives.
Lent by Mrs. Theodore Helms.
Display by Babs White and Susan Helms.
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When Pleasure was the Goal and Art Deco was the Style
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Left: Fashion is a social expression of an age. Nothing speaks so clearly
of the moment. It documents the taste of its time in the same manner as do paintings, architecture,
sculpture and other works of art.
From the Turn of the Century through World War I, a restless yearning for change and innovation
was in the air. It was the Machine Age; it was a Post-War Recovery period of prosperity. Pleasure was
the goal, Art Deco was the style.
Paris created designs in response to this mood. Women discarded structured clothes in favor of
clothes with simple streamlined silhouettes. They cropped their hair, rouged their lips and
danced the night away to Jazz Age tunes. Nothing was too daring as long as it was new, young and fun!
Evening Wrap:
Ombré silk cut velvet, red fox trim at neck and hemline, gold velour lining. C. 1923.
Gift of Mrs. John L. Moore, worn by her mother-in-law, Mrs. Edith Lockwood Moore
of Cos Cob. Evening Dress:
Silk chiffon, silver bugle beading on bodice and motif. Bugle bead fringe on skirt. (A Charleston dress indeed!)
Gift of Mr. & Mrs. Paul Rodriguez, worn by his mother, Mrs. Joachim Rodriguez, purchased on her honeymoon in Paris C. 1926.
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Headache Band:
Rhinestone, egret feathers. C. 1926.
Gift of Mrs. Halsted Wheeler, worn by her mother, Mrs. Elsie Trask, New York.
Earrings:
Rhinestone and onyx.
Lent by Mrs. Theodore Helms
Flask:
Hammered silver.
Gift of Mrs. Carole Johnson.
Period Cigarette Holder:
Lent by Mrs. Charles Standard, Greenwich.
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Opera Glasses:
Mother of Pearl overlay. Inscribed: Maude Robinson 1899.
Label: Lemaire, Paris.
Gift of Mrs. John North, Darien
Opera Hat:
Collapsible, silk faille. Label: Knox, New York.
Gift of Mrs. George Clough
Walking Stick:
Silver top. Monogram: "W".
Gift of Mrs. William McGregor
Topaz Clip:
Silver metal setting.
Gift of Mrs. Donald Fernow
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Display by Babs White and Susan Helms.
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