This article appeared in an issue Click Magazine that was deliberately edited to aid those young men who had been wearing uniforms for the past few years and, subsequently, had no knowledge whatever of tailoring or of fabric that was not government issued. It consists of a handy guide for the aspiring dandy showing just how a gentleman’s suit should fit if it is to be properly worn.
This article tells the story of a certain Antoni Cierplikowski – better known as Antoine of Paris (1884 – 1976). He was the premiere hairdresser throughout much of the last century and his illustrious client list included many names that you would recognize. Yet, to simply write the man off as a celebrity hairstylist is to ignore his myriad innovations:
• Antoine was the creator of the Bob.
• He created the Perm.
• He was the first to tint gray hair to blue.
• He was the first to apply a lacquer to hair as a fixative.
• Antoine was the first to tinge isolated elements within a hairdo blond as a streaked highlight.
There is only one retail establishment in the world that is able to boast that they had retained the patronage of both Thomas Jefferson and Andy Warhol, and that would be Brooks Brothers.
Diplomats and prize fighters, dukes and bankers, Cabinet members and theatrical luminaries stroll every day through the ten-story building on Madison Avenue. The sight of Secretary of State Dean Acheson trying on a new overcoat, or Clark Gable testing a new pair of shoes, or the Duke of Windsor undecided between a red or green dressing gown causes scarcely a flurry. The reason is simply that the store itself is a national legend, as noted in its own right as any of its patrons.
The attached five page article lays out the first 132 years of Brooks Brothers. It is printable.
– from Amazon:
Brooks Brothers: Generations of Style, It’s About the Clothing
Here is an entirely unsympathetic Time Magazine review of the 1922 film, Flaming Youth starring Colleen Moore and Milton Sills. The uncredited reviewer really wasn’t buying any of it and was not at all impressed with the morality of Flappers. Today, Flaming Youth has deteriorated to just just a few feet of film and rests in the vaults of the Library of Congress; the reviewer probably would be pleased to know that.
Flapper Magazine crowned itself the
official organ of the national flapper’s flock
If nothing else, this verbiage simply spells out that the editors took themselves very, very seriously indeed and it was in that same spirit they gleefully went to work disemboweling a movie that they saw as anti-flapper to its very core. The film in question was
Nice People (Paramount, 1922) starring Bebe Daniels and Wallace Reid. Produced by Willam C. deMille (1878 – 1955), elder brother of Cecil, the film makers were clearly intimating that nice people will always keep their flapper daughters in line; it is at that point in the flick when the reviewer dipped her pen in the ink:
This is one of the themes that ‘old fogies‘ usually delight in; the ‘reformation’ of the flapper… The picture is replete with pithy subtitles, such as ‘the smart girl of today removes the rouge from her lips only to kiss and make up.’
Elsa Schiaparelli (1890 – 1973), Paris’ leading fashion authority of the 1930s tells how to dress inexpensively and yet look smart as a star.:
Cheap jewelery should never be worn unless it happens to be something that you positively know suits you. Pearls, including cheap ones, are always in good taste.
Women can learn from men and improve their ‘chic’. A man wouldn’t think of wearing a tight shoe or one that didn’t harmonize with his suit.
Tom Wolf and Mark Twain have not been the only men to have lamented the drab hues so prevalent in manly attire: now you may add to that list a new name: H. Dennis Bradley. The late Mr. Bradley was a tailor in London’s Old Bond Street some time back, and he was quite vocal concerning the issue of men’s fashions. Being a true man of the cloth, Mr. Bradley was certain that, prior to the unpleasantness of 1914, men’s fashions were headed in a healthy and aesthetically sound direction, but when the boys came home, the promise was not kept.
We may not go back to the rainbow shades and wonderful stuffs of the bucks and the dandies of olden times–do what we will, we live in utilitarian days–but whatever comes do not let us revert to the hideous hues and shapelessness of the Victorian era…
Click here to read a 1929 article about the Dress-Reform Movement.
This article is made up of the musings of various editors, university presidents and social reformers discussing the cultural relevance of the Flapper and the cultural changes she has brought forth.
By the time this piece appeared in The Chicago Daily News (prior to being picked up by the fast crowd at Flapper Magazine) Colleen Moore was all of twenty-one years of age with fourteen Hollywood films to her credit. This interview was conducted over lunch by the polished Hollywood reporter Gladys Hall, who we’re sure picked up the check; on that day Miss Moore wanted to talk about flappers, a flock she was proud to be numbered among (and a subject she seemed to know well).
