In the 1910s, fashion evolved from S-shape silhouettes to more natural body draping styles that draped more freely over the body. A tunic over a long skirt became everyday daily wear; skirts narrowed at ankles and were usually worn with boots or shoes featuring high, curved heels.
Jackets and Cloaks
The 1910s witnessed a profound shift in fashion silhouettes, with corsets that had dominated previous decades ebbing into more natural S shapes and dresses becoming looser fitting; sleeves also broadened from their tight, narrow styles to an exaggerated leg-of-mutton form, with broader shoulders and decorative horizontal bands exaggerating its lines further. Designer Paul Poiret introduced new styles influenced by Orientalism such as flowing pantaloons and harem pants made of bright silks or velvets; in addition, his designs included sheath dresses made of bright silks or velvets for which Paul Poiret created his signature sheath dresses with bright fabrics or velvets sheath dresses made of colorful silks or velvets to further exaggerate its lines further exaggeration of its lines further exaggeration of its lines further exaggeration of lines further embellishment of them by further exaggerating their lines further exaggeration of tubes created in previous decade by tight, narrow styles from close, slim styles last decade were replaced with leg-of-mutton shapes made up to exaggeration of broad shoulders as leg-of-mutton sleeves adorned with wider shoulders and horizontal decorations further embellishment of line decoration further exaggerate the lines further exaggeration of which made an impactful statement about its lines; Designer Paul Poiret introduced new style influenced by Orientalalism with flowing pantaloons or sheath dresses made up on vibrant silk or velvet materials.
Under this more relaxed silhouette, tailored shirtwaists and slim skirts remained fashionable. Additionally, blouses featuring detachable collars, jabots, or neckties were chic; simply swapping out details could create an entirely different look. The Frick collection boasts numerous blouses made of simple cotton material or more elaborate versions, such as this black velvet top embellished with multiple lace embellishments.
For men, trousers remained narrow and ankle-length, and jackets continued to be worn; however, they weren’t as snugly fitted as in prior decades. A lounge suit featuring three to four front buttons with two to three cuff buttons arranged in either a 6-2 or 6-4 configuration similar to today’s modern suit jackets was often seen at work during this era; a choice at this time was Norfolk jackets; these were more casual pieces often associated with outdoorsmen.
Hats also expanded both in size and style. Derby hats were still worn, while fedoras, slouchy bowler hats, and flat sportsman caps became fashionable, and straw boater hats with their center dent crown and rolled-up brims were popular choices at this time.
Material rationing from World War I began to affect clothing during this decade, and dress lengths became shorter. Evening gowns still emphasized bust volume, but complete, floor-length ball dresses of previous decades gave way to more conservative sheath-style gowns in lighter fabrics. Knee socks and hair ribbons became fashionable among younger children as their dresses loosened to allow more unrestrained movement and play.
Mantles
Women wearing dresses during the 1910s often wore various mantles topped with intricate patterns and trimmed with lace or embroidery, some long and fitted, with sleeves ending at either bustle height or an appropriate basque below it; others were short, with two scarf ends extending forward from its narrow front; these latter styles often took inspiration from dolman sleeves worn in mantles of 1870s; they sometimes grew further backward into capes.
There were both full-length and three-quarter-length cloaks, but overall fashion favored forms that fell somewhere between capes and shawls – such as visits, paletots, and pardessus – with distinct forms varying in various ways. Visite might feature a fitted back while its front had a squared-off opening cut in it, while parents had narrow front sections with long hanging hems at the rear.
Paul Poiret was an essential force in dress design during the early 1910s, particularly oriental-influenced pieces like his kimono sleeves, turban headwear, and Turkish or harem skirts with tunic overdresses.
His tubular hoop skirt designs, created to replace the fuller petticoats of earlier decades, gained him worldwide attention in the 1910s. Narrowed at their lower portion, these waist-tie skirts could be tied with bows or sashes at waist level for easy dressing up or dressing down and could pair nicely with any number of blouses and chemises for versatile use.
As the decade progressed, hoop skirts gradually gave way to straighter sheath line silhouettes with narrowed skirts that reached just above the knee. Skirt length also gradually increased; this trend was further reinforced during World War I as women sought ways to prolong the longevity of their skirts.
Women began wearing hats for the first time in 1910, ranging from brims and feathers to turban-style styles with wide bands of lace covering their forehead and hair. Some early models resembled men’s church shoes in rounder shapes and thinner heels, but later styles featured more feminine traits like rounder forms with bows or floral motifs.
Lingerie Dresses
Lingerie dresses were an increasingly fashionable style of 1910 similar to blouses; light in material yet intricately decorated with lace, satin, and embroidery. Worn as day dresses or tea gowns for tea or dinner services, with sleeves added for dinner attire. They are also worn as blouses and skirts for outdoor activities like picnics and walks. Lingerie dresses represented one of the first forms of clothing to eschew tight, structured fits of late nineteenth-century clothing in favor of an informal draped silhouette reminiscent of what could be found in the April 1910 issue of The Delineator magazine.
Lingerie dresses were traditionally white; pastel colors such as yellow, cream, and pink were also available. Lingerie dresses featured feminine fabrics such as batiste (thin opaque cotton), soft organdy voile, or lawn (cotton/linen blend). Lingerie was often enhanced with decorative features like lace inserts or entredeaux and trim edging trims or pintucks to complete its feminine appearance.
This style of dress was tailored perfectly for the more leisurely lifestyles of women who had started working outside of their homes in the early twentieth century, featuring long, puffy blouses with frilly fluted skirts – precursors of what later became fashionable cocktail dresses in 1920s fashion.
Although this fashion was most prevalent in the United States, similar styles could be seen throughout Europe and featured in clothing catalogs and fashion magazines. Although its peak of popularity occurred during the 1910s, similar styles continued to be worn and discussed through 1920.
In the 1910s, corsets evolved into more closely resembling girdles that could be worn over either short or long princess line chemises. Some women even wore boned or unboned bust bodices which supported their busts; these garments featured wide bands of satin fabric to form a girdle around their hips and provide stability and support.
Historically, women would wear their lingerie dress with various hats, such as those featuring brims, crowns, and feathers, as well as silk or velvet hats. Women in the 1910s sported center partings for their hair that looped around pads or false flowers while sporting complete, voluminous waves or short bobs hairstyles.
Suits
In the 1910s, men’s fashion underwent some notable shifts. Suits became more commonly worn, but three-piece cases still held special occasion status. Jackets became narrower and straighter; they had been broader and curvier in previous decades. Furthermore, it became common practice to wear untucked shirts with sleeves rolled up; Cravats became popular, while bow ties and butterfly bow ties increasingly overshadowed traditional neckties as casual wear options.
Men began wearing bowler hats or felt derbies that were once again fashionable – the bowler or felt derby style became widely sought after for everyday wear, as did Homburg hats for special events like formal functions. Men began opting for woolen caps instead of felt ones.
Men who wore suits typically paired them with trousers that matched. These wide pants typically featured turned-up hems, sharp creases down their legs, and belted high at their waistline.
Trousers were typically lined in silk and may also feature patterns or colors to match the jacket. When wearing a suit, an undershirt was a naturally light-colored dress shirt featuring a starched “yoke” front to keep its form while under the vest or suit jacket.
Men typically wore either oxfords or buck shoes; an oxford is a formal shoe with laces, while buck shoes look more like slipper styles worn by women.
Women’s boots from this period were typically less pointed and rounder in shape than the boots often seen in period dramas, worn with dresses or skirts during daywear and with formal events being accessorized with hats for formal occasions.
Are you curious to gain more insight into the fashion of your ancestors from 1910? FamilySearch Memos’ photos offer a snapshot of this period’s style; upload your family photos so it is easier for others to see. Their collection also boasts various dress silhouettes from this year, many of which showcase its asymmetry.
