As hem lengths rose and flowerpot hats moulded themselves to the side of the head, a voluntary simplification of clothing spread across a wide spectrum of society. The hemline was on a slow rise from the beginning of the twentieth century.  The stereotypical Edwardian skirt, for example, had a shape like an upturned lily, with … Continue reading The Myth of Chanel and the 1920s: X – Rising Hems

She cut her hair short 'because it annoyed me'.  Everyone cut off their hair in imitation. This is probably the most concretely bustable myth about Chanel.  It is very popular, appearing frequently in fashion blogs.  Even when academic writers acknowledge that she did not invent the style, she is given top billing and the bulk … Continue reading The Myth of Chanel and the 1920s: IX – The Bob

The flamboyant colors of Paul Poiret's pre-war designs and the theatricality of Bakst's influential costumes for the Ballets Russes suddenly seemed tawdry and overdone. ... A look of luxury was achievable through the severity of simplicity.  Expensive poverty was the aim.  She dared to suggest that clothes themselves had ceased to matter and that it … Continue reading The Myth of Chanel and the 1920s: VIII – Expensive Poverty

During the war she discovered the versatility of jersey cloth as used by stable lads for shirts for training sessions, and began to make sweaters and waistless dresses for women from the same supple fabric.  The ornate Edwardian costume that according to a scornful Chanel had 'stifled the body's architecture' started to disappear.  Chanel was … Continue reading The Myth of Chanel and the 1920s: VII – Jersey Cloth