Dating old photographs from clothes worn in the 1930s

Evening dress, E. Schiaparelli

Evening dress
Elsa Schiaparelli (1890-1973)
1936
Paris
Wool crepe and gold braid
Museum no. T.36-1964
Given by Mrs P. Otway-Smithers

Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions and emulated aspects of it. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. Bias cutting (where fabric is cut diagonally to the grain of the fabric) created garments that skimmed over the body's curves. The 1930s silhouette is therefore slinky and close-fitting, with fluted skirts and features like scoop backs. The line was simple and uncluttered and few trimmings or accessories were worn.

This 1936 evening dress is by Elsa Schiaparelli, who was known for her shock tactics and love of surrealism. Here, Schiaparelli has taken the intimate padding over the breasts which would normally be concealed, and used it to decorate the outside of a severe brown crepe dress. Crepe was very fashionable for both day and evening dresses during this decade.

Evening ensemble, Gabrielle 'Coco' Chanel

Evening ensemble (dress and shoulder cape)
Gabrielle 'Coco' Chanel
1937-8, Paris
Satin, embroidered with sequins, with satin panels and sashes
Museum no. T.87&A-1974

Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions and emulated aspects of it. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. Bias cutting (where fabric is cut diagonally to the grain of the fabric) created garments that skimmed over the body's curves. The 1930s silhouette is therefore slinky and close-fitting, and was accessorised with bolero jackets or short capes as seen here. The line was simple and uncluttered and few accessories were worn.

We usually associate Chanel's name with her practical classic suits, which first appeared in about 1917. She also created extravagant evening wear such as this sequinned dress and cape. The combination of glistening black sequins and scarlet satin panels is very dramatic. The rows of overlapping 'fish-scale' sequins emphasise the supple, falling lines of the outfit. The short, semi-circular cape has a scarlet satin lining.

Evening dress, Chanel

Evening dress
Gabrielle 'Coco' Chanel (1883-1971)
About 1932
Paris
Machine and hand sewn blue tulle and sequins
Museum no. T.339-1960
Given by Loelia, Duchess of Westminster

During the first half of the 1930s, evening dresses were designed to wrap women in luxurious, body-hugging sheaths, replacing the short, flat square gowns of the 1920s. Evening gowns were mostly sleeveless, often displaying a bare back or a low neckline and inevitably touching the floor. White or pastel colours, fashionable in the 1920s and early 1930s, soon gave way to stronger, more acidic colours.

After championing the modern, sporty and androgynous woman of the 1920s, Chanel successfully ventured into a luxurious and more feminine fashion in the 1930s.

Evening dress, Gabrielle 'Coco' Chanel

Evening dress (bodice and skirt)
Gabrielle 'Coco' Chanel (1883-1971)
1938-9
Paris
Machine-sewn red grosgrain and red chiffon
Museum no. T.32-1978
Given by Mr Fergus Cochrane

Though couture clothing like this was out of most women's reach, it inspired more affordable fashions. Coco Chanel championed comfortable and practical clothing for women. This evening dress, obviously designed for the summertime, is a remarkable example of Chanel's skills in developing elegant sportswear for the evening, creating a simple yet stunning evening dress for the sporty, modern woman of the 1930s. The navy, red and white ribbon of grosgrain makes reference to Chanel's own love of sailing, and her inspiration from sports.

Evening ensemble, Charles James

Evening ensemble (dress and coat)
Charles James (1906-78)
1934
London
Bias-cut satin (dress), with fur
Museum no. T.272-1974

This dress and coat are typical of glamorous 1930s eveningwear. The dress is a simple, figure-skimming sheath dress made from satin, and the fur coat accentuates the shoulders.

Couturier clothing like this was custom-made for each individual client from the finest materials. Couture influenced the silhouette and style of more affordable fashions, however, and fur was brought within the reach of many women as large fur collars or as stoles or wraps, which were all highly fashionable during the 1930s. 

Suit, Molyneux

Suit (jacket and skirt)
Edward Molyneux (1891-1974)
1930s
Paris
Wool with silk blouse
Museum no. T.375&A-1988

This suit sums up the 1930s silhouette with its sleek lines, nipped-in waist, square shoulders, and straight, pleated skirt. Tailor-made outfits were practical yet smart and well suited to town or country wear.

Suits like this would have been worn for daywear and for travelling, and would have been worn with a hat and a fashionable fur stole

Evening ensemble, Peter Russell

Evening ensemble (dress and coat)
Peter Russell
1937
London
(Coat) Interlined with undyed wool and lined with silk faille; (Dress) Pleated pale pink matt crepe, embroidered with beads and diamante
Museum no. T.363,363-1974
Given by Mr John Fraser

Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The prevalent 1930s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skimmed over the body's curves. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered.

Towards the end of the 1930s, however, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists. Also, designers introduced embellishments like bold prints and surface decorations in an attempt to break away from the minimal adornment of the bias-cut line.

This elegant evening ensemble was designed by London couturier Peter Russell. It was worn by Mrs John Fraser (Ruth Vincent) and given by her son, Mr John Fraser. An almost identical version made in lamé was featured in Vogue magazine, where it was described as an ideal presentation dress.

Evening dress, P. Poiret

Evening dress
Paul Poiret (1879-1944)
1933
London
Satin and silk velvet, trimmed with diamante buckles
Museum no. T.173-1964

This elegant gown is typical of 1930s evening attire. Made in bias-cut ivory satin, it plunges at the back, clings to the torso and gently flares below the thigh. The cascade of velvet ribbons and diamanté buckles focuses attention on the back.

Photograph of Ilse Bing, self-portrait

Photograph, self-portrait of Ilse Bing
Ilse Bing (1899-1998)
1934
Paris
Gelatin silver print
Museum no. E.3036-2004
Bequeathed by Ilse Bing Wolff

During the First World War and through to the 1930s many women entered the work force for the first time, and wanted to reflect their new independence in the way they dressed. They wore practical clothing that was suitable for work, and many daring modern women took to wearing trousers. Many continued to sport short bobbed hair as they had in the 1920s.

This portrait is of Ilse Bing (1899-1998), one of several leading women photographers in the inter-war period. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in 1930 to concentrate on photography. Bing’s severe self-presentation of 1934 shows an independent, unadorned, determined professional.

Evening ensemble, Schiaparelli

Evening ensemble
Elsa Schiaparelli (1890-1973)
1938
London
Rayon marocain, backed with satin, and embroidered with various gilt threads, beads and diamantes
Museum no. T.399&A-1974
Given by Lady Alexandra Dacre of Glanton

Towards the end of the 1930s the fashionable silhouette altered, and the prevailing streamlined shape was gradually replaced by wider shoulders and a more fitted waist, foreshadowing the silhouette that was to dominate the clothes of the 1940s.

This 1938 ensemble by couturiere Elsa Schiaparelli features wide padded shoulders with embroidered leaves around the collar to further emphasise the exaggerated shape.

Evening ensemble, Mainbocher

Evening ensemble (dress and jacket)
Mainbocher (1891-1976)
1937
Paris
Silk crepe, embroidered with sequins (jacket)
Museum no. T.306-1974
Given by Vern Lambert

Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The prevalent 1930s style was the bias cut. Bias cutting (where fabric is cut diagonally to the grain of the fabric), created garments that skimmed over the body's curves. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories. Simple dresses were teamed with short capes, boleros or jacket, and sequins were a favourite way of adding glamour to an outfit.

This straight-cut jacket is similar to the one worn by the Duchess of Windsor (Mrs Wallis Simpson) in her engagement photographs taken by Sir Cecil Beaton (1904-1980). She wore it over a long white crêpe dress with a sequin sash matching the jacket (American Vogue magazine, 1 June 1937, pages 52-57, British Vogue, 9 June 1937, pages 54-56). Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. Its stark, simple lines suited her elegant, uncluttered style.

Wedding photograph, about 1935. Museum no. T.212:1-4-1996

Wedding photograph
About 1935
Museum no. T.212:4-1996

The bride wears a typical 1930s wedding dress, which features a long train, high-neck and long sleeves, with rather squared shoulders.  The wreath is decorated with wax orange blossoms on wire stems, and was a popular wedding accessory of the decade.  It was made to sit on top of the head, both as a decoration and a way of holding the long veil in place.

Wedding wreath, Liberty & Co. Ltd.

Wedding wreath
Liberty & Co. Ltd. (retailers)
About 1935
London
Wax orange-blossom and wire
Museum no.T.212:1-1996

Wreaths decorated with small wax flowers - in this case, orange blossoms on wire stems - were popular wedding accessories of the 1930s.  They were made to sit on top of the head, both as a decoration and a way of holding the long veil in place.

Evening dress, P. Poiret

Evening dress
Paul Poiret  (1879-1944)
1933
London
Satin and silk velvet, trimmed with diamante buckles
Museum no. T.173-1964

Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The prevalent 1930s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skimmed over the body's curves. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories.

Day dress and cape, Madeleine Vionnet

Day dress and cape
Madeleine Vionnet (1876-1975)
About 1933
Paris
Woollen jersey, cape fastened with chrome clips, and leather belt
Museum no. T.302&A-1971

Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead.

Only a few outfits in the V&A's collection illustrate 1930s day attire but, luckily, one is this ultra-fashionable ensemble by couturiere Madeleine Vionnet. The dress is cut on the bias - a prevalent 1930s trend, creating garments that skimmed over the body's curves. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories. Simple dresses were teamed with short or long capes, or boleros.

Evening dress, M. Vionnet

Evening dress
Madeleine Vionnet (1876-1975)
About 1934
Paris
Black silk velvet, with two asymmetric silk georgette streamers
Museum no. T.89-1982
Worn by Mrs Opal Holt, and given by Mrs D.M. Haynes and Mrs M. Clark

Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The prevalent 1930s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skimmed over the body's curves. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories.

Photograph, E.J. Steichen

Fashion photograph for Vogue magazine
Edward J. Steichen (1879-1973)
1930 (photographed), ca. 1966 (printing)
USA
Gelatin silver print
Museum no. CIRC.969-1967

This photograph appeared in the American edition of Vogue fashion magazine. It epitomises the glamour of 1930s fashion and captures the desirable, slinky look of the period. Here you can see a dress made of clinging, extravagant and luxurious fabrics. The models' hair is styled close to the head with gentle 'finger waves' along the hairline. Vogue

Evening dress, Charles James

Evening dress
Charles James (1906-78)
1938-9
USA or London or Paris
Printed silk
Museum no. T.274-1974
Given by the designer

Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The prevalent 1930s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skim over the body's curves. The 1930s silhouette is therefore slinky and close-fitting. The line was simple and uncluttered, with few trimmings or accessories.

Towards the end of the 1930s, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists, as seen here. Also, designers introduced bold prints and colours in an attempt to break away from the minimal adornment of the bias-cut line.