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Posts tagged ‘Boheme Sauvage’

Flapper fashion: 1920s dress-up in Berlin

After blogging about dressing up for Bohème Sauvage in Berlin a few weeks ago, I thought I’d share the outfit that I wore to that very 1920s party, which had the period’s sensibility without any real efforts at authenticity. All were picked up cheaply at vintage stores or had been hiding in my wardrobe just waiting to go to the ball…

Flapper(ish) Dress

When we think of 1920s style, it’s all about the flapper. Zelda Fitzgerald, dubbed the first by her husband, writes in a “Eulogy to the Flapper”:

“The Flapper awoke from her shoes of sub-deb-ism, bobbed her hair, put on her choicest pair of earrings and a great deal of audacity and rouge and went into the battle. She flirted because it was fun to flirt and wore a one-piece bathing suit because she had a good figure … she was conscious that the things she did were the things she had always wanted to do. Mothers disapproved of their sons taking the Flapper to dances, to teas, to swim and most of all to heart…”

The flapper sticks in our imagination starting with film of the same name in 1920 starring Olive Thomas, and then through the stories of F. Scott Fitzgerald and Anita Loos via Louise Brooks, Clara Bow and Josephine Baker. Although many of the women in the 1920s wore flapper attire, they did not necessarily have the attitude – it was just fashion. However, part of its appeal for us now are those glamorous, wild connotations. These young women were taking a more active role, living for the moment after the insecurities of war (and won the ‘flapper’ vote in 1928 in the UK). The archetypal image of a flapper is heavily made-up, doing the Charleston, cigarette or cocktail in hand – stepping out in domains where women were not supposed to tread, let alone kick up their heels.

As fashion and cultural change are intertwined, women’s more active role during the First World War was reflected in post-war trends. Women took on men’s roles in factories and wore loose full knickers – slack girls, while Coco Chanel introduced less restrictive fashions, pauvre chic, in jersey. And of course women needed looser, shorter dresses for dancing the tango – just in vogue from Buenos Aires. Nonetheless, I was really interested to read that when Paul Poiret’s neo-classical empire line dresses came into sale pre-war, the Edwardian corset did not completely disappear. The boyish dresses still necessitated a corset, which was straight up and down rather than an S shape, for those with the figure of a less lithe boy.

The flapper dress was certainly what I had in mind when I went on a mission to Glasgow’s vintage treasure troves. In Circa Vintage, I tried on a flapper style dress with tassels but it just looked awful and shapeless (I don’t have a boyish flapper figure). Then my fellow vintage shopper spotted this dress below. It’s 1980s /early 1990s but the characteristic drop waist is there, it’s got a low neckline and back, and the diamontes are in keeping.

vintage 1920s flapper dress and accessories Boheme Sauvage

Headdress

Headgear is key to the 1920s look – whether a turban, cloche, birdcage hairpiece or feather headdress. It’s in this area that your dress-up can become costume, but it’s also what makes you feel most of that period and out of time. That’s why the Bohème Sauvage website encourages us to wear our hair vintage style:

“We especially want to encourage the ladies to creative use of headdresses and hats, as well as exciting modelling of hair (keyword: water wave) and the use of various make-up techniques (keyword: smoky eyes and pale complexion).”

The headband (pictured above) picked up at a vintage fair here in Bristol, helped me get in the mood. The girl whose birthday took us on this trip to Berlin, was treated to a bob, and another of our party had a go at water waves (see the flyer below). If you want to read more about 1920s hair and make-up, pay a visit to Come Back in Time.

Water wave - Boheme Sauvage ticket

1920s jewellery

I imagine a flapper wearing long pearls as in this iconic photo (by Eugene Robert Richee, 1928) of queen of the bob, Louise Brooks. A long string of black beads which I bought in a charity shop years ago, were flung on (needless to say not really anywhere near Ms Brooks).

Louise Brooks peals - Pandora's Box

Cape

The 1920s style of coat that appeals to me the most has long lapels, perhaps with (fake) fur, and one large button to fasten it. However there weren’t any coming my way so I chose this cape. It’s not of the period but it’s in keeping and worked with the dress. Although in a ‘Style Me Vintage’ guide I read, they advise eschewing the cliché of long gloves, I added them for extra sophistication and again to pull me out of the present time.

cape for 1920s vintage dress-up

Bag

I have a rather shameful love of handbags of all shapes and sizes so I thought this part would be easy, but when I looked in my wardrobe the right thing did not jump out. So I opted for this simple purse.

1920s style silver purse with Boheme Sauvage tickets

Shoes

I must confess I did look in high street shops for a new pair of Mary Jane T-bar shoes as I thought they were a staple that I’d wear again and again. However, luckily I remembered a pair of Red or Dead shoes that I’d bought around 10 years ago in my wardrobe. Although the heel is perhaps too high and not rounded enough, they were the style of the decade – the T-bar and the suede element felt right. So they got to dance the night away. (And I am very pleased about this after reading WRAP’s report that there is £30 billion unused clothes in our collective wardrobes.)

Red or Dead T-bar shoes with metal heel - 1920s vibe.

And for the boys… or girls

Vintage style is not just for the flappers. Gangsters, cads and artistic bohemians also need to look the part and Bohème Sauvage welcomed a mix ‘n match style for men too. We had the upper class toffs in top hat and tails, the middle class professionals in pinstripes with trilbies or twisting it to a gangster look, and the workers or starving artists in baggy Oxfords with braces and flat caps. Flapper frenzy was avoided by some women too taking on male attire but it was notable that the worker look outlined above was chosen by women, over the others, so there were no Marlene Dietrich look-alikes. Monocles were optional for men and women…

Over to you flappers …

Do you like to dress as a flapper? What style would you choose? Who are the ‘flappers’ of 2013?

If you want to find out more about 1920s fashion (and look at lovely illustrations and photos of the period) check out the ‘Fashion Sourcebook – 1920s‘ by Charlotte Fiell and Emanuelle Dirix (Fiell Publishing Limited,2012).

There are lots of vintage style books on the market at the moment, and one of my lovely friends treated me to ‘Style Me Vintage’ by Naomi Thompson, Katie Reynolds, Belinda Hay (Pavillion Books, 2012).

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Bohème Sauvage: back to Berlin 1920s style

The time is 1926. The place, Berlin, and the atmosphere smoky, bohemian with a touch of big band swing and burlesque. Absinthe is being sipped at the bar by a distracted cabaret dancer, whilst a speakeasy gangster cavalierly gambles Reichsmarks away, and a young flapper shimmers with delight as all eyes follow her to the dance floor… We’re at  Bohème Sauvage , a night of fun for vintage lovers in Germany. Actually before you read on, why not get in the mood and tune into Radio Dismuke?

I was invited by my 1920s-loving friend for her fortieth birthday to Berlin with six others with Bohème Sauvage on the agenda for a night of dress-up, dancing and who knows what else in a vintage playground. The support acts of swapping accessories and styling tips, washed down with deliciously authentic Russian vodka, were almost as much fun as the main event.

Bohème Sauvage is a postmodern mash-up of periods, styles and locations: bohemian Berlin of the 1920s, the Belle Epoque Paris of Toulouse Lautrec, burlesque and Moulin Rouge, and the American thirties with speakeasies, jazz clubs and gangsters. Whether we were dancing the Charleston, foxtrot, swing, waltz, tango, mambo, rumba… it hardly seemed to matter. As the website says:

“Bohème Sauvage does not try to copy this era; authenticity is not the highest aim… It is made for people who enjoy to express themselves, who like to dress up and wear costumes, who like playing with identities and basically for everyone who is open for experiments and adventures.”

As the birthday girl loves the 1920s – the decadence, the androgynous looks, the Louise Brooks do – we all dressed in clothes of that era. And where better to celebrate the style and culture of the twenties than Berlin. Between the two world wars, despite being wrecked from defeat, for a brief time the city was a cultural and intellectual capital of Europe, a Bohemian centre, with intellectuals and artists from all disciplines (including Bertolt Brecht, Walter Benjamin, Christopher Isherwood, Fritz Lang, Marlene Dietrich, Otto Dix) making the city their home. Rainer Metzger in Berlin in the 1920s goes as far as arguing that Berlin at this time was the nearest to capture the Modernist idea of art and life becoming one.

Caberet photo - two women dancing.

With a creative surge in the arts from cinema to cabaret and a more relaxed attitude to sexuality, in retrospect the post-war mood was about enjoying the transience of the glitter now. The Charleston, the shimmy and the foxtrot were hugely popular and Metzger says, “there was a strong desire to lose oneself in the rhythm, and to let one’s body react to the syncopation and feelings engendered by the beat.” This was the time of androgynous dressing, Josephine Baker making top billing at the Femina-Palast, or at the Troika, in Christopher Isherwood’s “Goodbye to Berlin” where girls dance behind gauge, assignations are set in motion via the telephones lined up on the dancing hall, and dancers stream with sweat. Indeed, the decadent Sally Bowles, not anticipating the rise of Fascism to come, is the Berlin of our popular consciousness. The Cabaret element is alive at Bohème Sauvage with an Emcee character hosting the entertainment, including a burlesque dancer and a female three-piece band.

The mix and match attitude to vintage dress-up suited me as I love wearing vintage clothes without pandering too much to period detail or authenticity, and I enjoy the experience of dress-up rather than a particular period or scene. As Ted Polhemus says, “…sampling and mixing diverse, eclectic, often contradictory elements into a unique, personal statement.” Part of the pleasures of this event undoubtedly was being admitted and thereby told that we had dressed the part – although not necessarily “authentic” (I was wearing a 1920s style dress via the 1980s). Subtle dress code boundaries were prescribed on the website:

“…quite apart from any modern clothes such as jeans, t-shirts, sneakers etc, kitschy, glitzy and tasteless carnival costumes, plastic products, flashy wigs, pink feather boas and all of the time from 1880 to 1940 are obviously not appropriate. We appeal very specifically to your sense of style and aesthetic.”

Admittance depended on your (sub)cultural capital which cannot necessarily be learned – you either have that sense of style or you don’t. Even if you’ve bought your ticket online, we’re told you can still be refused at the door (but you will get a refund to soften the affront to your sense of style). During the night, we all commented on how wonderful everyone looked – all shapes and sizes, a range of ages – and how pleasurable it was that there seemed to be a group affinity and that people had entered the spirit of the party. It almost felt like a ‘scene’ but was more like a shared affinity with people who would place themselves outside mainstream culture ranging from weekenders to those who have a vintage lifestyle.

Bohème Sauvage was created by “Miss Else Edelstahl” who started hosting private 1920s salon parties in 2004, which have now has grown to monthly gatherings at large ballrooms across Germany. Ours was held in Meistersaal in Berlin, a prominent artistic venue in the 1920s.  We were attending Bohème Sauvage as it was being incorporated into to the mainstream, being mentioned as a not-so-secret travel tip. This decade is in, in, in with the hotly anticipated Great Gatsby and top designers picking up on the styles, not only for women but in menswear too, which will be highlighted in the vintage store and filter to the high street. There may be people who think that Bohème Sauvage has become less authentic, filled with “tourists” like our group…

It was not just in fashion terms that people could express their subcultural capital but also on the dancefloor. We were too late for the dancing lessons at the start of the evening to help people learn the Charleston, swing or foxtrott. I loved dancing (and waltzing very badly) but also enjoyed watching the couples swing, spin and twirl round the floor. As there were language barriers, I am not sure how many people were taking on particular roles or characters but it certainty felt like an environment where you could do this without fear of being laughed at, in fact it may add to your subcultural capital.

Dance card (Tanzcarte) Boheme Sauvage, Berlin

A 1920s revival may be of the moment with its echoes of economic, political and cultural uncertainty, and the sense of decadence and shifting gender roles is perhaps more appealing than certain recreations of the 1950s with more secure home-making attire and lifestyle. We could all fritter the hyper-inflated Reichmarks at the mock casino and drink and dance the night away as if all was lost. There may have been a whiff of decadence, but of course it’s played out within safe boundaries. However it was glamorous fun, and my inner flapper certainly enjoyed being released.

Anyone else been to Bohème Sauvage? Do you enjoy dressing up in the clothes of a particular era? Are you part of a vintage ‘scene’? Please share your thoughts in the comments box.

Look out for a blog about my flapper outfit but for now here’s a taster of the party…

Books I’ve mentioned…

Isherwood, Christopher, (1939), Goodbye to Berlin, Vintage: London

Metzger, Rainer, (2007), Berlin in the Twenties: Art and Culture 1918-1933, Thames & Hudson: London

Polhemus, Ted, (2010), Street Style, PYMCA: London.