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Fashion, Flappers 'n All That Jazz

Exhibition showcases the ‘greatest, gaudiest spree in history’

Transforming the 20th century with scandalous fashions, a revolutionary music called jazz and exhilarating new freedoms for women, the 1920s burst on the American scene, exploding social mores and catalyzing a new attitude across the nation. “Fashion, Flappers ‘n All That Jazz” — a major exhibition opening on Nov. 17 at the Chicago Historical Society, Clark Street and North Avenue —captures the spirit of this roaring decade by illuminating the connections among music, dance, fashion and social change in what came to be known as the Jazz Age. Described by F. Scott Fitzgerald as “the greatest, gaudiest spree in history,” this era gave rise to a new generation with its own social conventions. “On the heels of the horrors of World War I, our society witnessed an explosion of rapid changes — from women gaining the right to vote, to the prohibition of alcohol, to the flood of African Americans who poured from the South into Chicago and other industrialized cities — and ultimately set in motion the rise of a new youth culture that would foster and reflect a moral revolt and social transformations,” explained Lonnie Bunch, president of the Chicago Historical Society. Leading this social revolution were the newly “liberated” women—known as flappers—whose rebellious attitude inspired risqué, flashy fashions, unorthodox behavior and a demand for equality. Drawing from the Chicago Historical Society’s preeminent Hope B. McCormick Costume Center collection, “Fashion, Flappers ‘n All That Jazz” showcases stunning dresses, suits, coats, undergarments, shoes, accessories and men’s suits displayed against the backdrop of the innovative music and athletic dances that became the hallmark of the era.

Visitors to the exhibition will see a dazzling array of 1920s fashions—many on view for the first time—including a Jeanne Lanvin robe de style of black silk taffeta with peacock-tail embroidery in beads and rhinestones; a Madeleine Vionnet black silk crepe gown embroidered with gold beads and silver thread; an Edward Molyneux dress covered with shaded pink bugle beads and trompe l’oeil rhinestone tassels; and a Maria Monaci Gallenga printed silk velvet opera coat. Additional highlights are a negligee of metallic silk printed with a nightclub scene; a pair of Ducert Scavini & Fils purple taffeta shoes with green satin heels and T-straps; and a Stanley Korshak turban covered with jet bugle beads and trimmed with a black feather pompon. “This truly is one of the best costume collections in America, both in depth and breadth,” noted textile curator and consultant Melissa Leventon. “The Chicago Historical Society’s collection is especially noteworthy in the fact that the costumes are in such good condition.” To safeguard the pristine quality of the items on display, CHS will change the clothing in the exhibition in five months — which also provides the opportunity for the public to see even more of the Chicago Historical Society’s rich 1920s costume collection. “Fashion, Flappers ‘n All That Jazz” also touches on other icons of this decade including the Chicago gangster and the speakeasy. With the passage of the Volstead Act in 1921, alcohol became an illegal substance, prompting an enormous black market for liquor controlled by organized crime. Nightspots—or speakeasies—where drinks were served out of the sight of the law, became the rage and the destination of choice for men and women. Ultimately, however, jazz christened the era—and could be heard everywhere: from orchestras in ballrooms, from windup phonographs in parlors, from loudspeakers in variety stores. As literary historian Malcolm Cowley describes, “Jazz carried with it a constant message of change, excitement and violent escape.” “The changes seen in the 1920s developed as part of an urban phenomenon; for the first time in our history, more people were living in urban rather than rural areas. Although other cities had the elements needed to advance this new way of life, Chicago provided the perfect environment to foster the Jazz Age culture,” noted Bunch. Through a series of scenes depicting a night out in Chicago, visitors can immerse themselves in the age of the “lost generation.” “Dressed to Thrill” shows a liberated young woman in the process of choosing what to wear for a heady Saturday evening of music and dance. “Stepping Out” focuses on a young trio who has just arrived outside one of Chicago’s ‘hot’ clubs — and illustrates how prohibition spawned a new culture that championed unchaperoned dates, suggestive dancing, smoking and illegal drinking. “Come Dancing” depicts a downtown nightspot where people gather to dine and dance to such legends as Ben Pollack and his Orchestra and Isham Jones and his Orchestra. Finally, “Chicago Jazz” transports visitors out of the Loop in search of late-night entertainment. This scene celebrates “black and tans”—nightclubs that became home to such celebrated black jazz musicians as King Oliver’s Creole Jazz Band or Louis Armstrong’s Dreamland Syncopators. At a time of widespread racism in the United States, many white patrons clamored to hear this new style of music. Some of the Southside clubs catered to both black and white audiences, giving rise to an enduring legacy—Chicago Jazz.