INTO THE JAZZ AGE

During the Roaring Twenties women’s clothes became a powerful expression of the modernist approach to all forms of art.

Many old attitudes were swept away by World War I, and with them the long skirts and waist-cinching corsetry of the early 1900s.

Such constrictions were unsuited to the vital, active wartime roles women took as land workers, drivers, and machine operators.

By the 1920s more women could vote, and more entered the professions.

They drove, smoked, drank cocktails, and worshipped screen stars such as Clara Bow.

Dress became relaxed and strikingly simple.

One key aspect of the modern woman’s look was pour le sports.

Clothes developed for physical activity left their mark on fashion, while sport itself helped to achieve the stovepipe silhouette.

Women hankered after the image of La Garconne (Bachelor Girl of Tomboy) from the eponymous 1922 novel by Victor Margueritte. Hair was bobbed or cut into the “Eton crop” and hugged by cloches, waists abandoned or dropped to the hips, and chests flattened.

Plain sweaters, short, pleated skirts (hemlines rose to the knees by the mid-1920s), and use of soft wool jerseys, allowed free movement and won immediate international success.

Everyday clothes featured unstructured jackets, hip-length sweaters, and simple blouses and skirts.

By night drop-waisted, full-hemmed dresses allowed flappers another important freedom-to dance the night away at jazz clubs.

爵士年代

在“咆哮的二十年代”，女装成为现代主义艺术形式的强大呈现。

许多老观念都在第一次世界大战时被抛弃了，伴随他们的是二十世纪初的长裙与收腰紧身胸衣。

这种服装限制并不适合妇女参与有活力的，和战时一样的体力工作例如土地工作者，司机或机器操作者等。

到二十世纪20年代，更多的女性可以参与投票，更多女性进入专业职业行列。

他们开车，吸烟，饮鸡尾酒，崇拜电影明星例如克拉拉鲍尔。

连衣裙款式也追求轻松与简单。

现代女性造型的一个关键转折是倾倒运动。

为体育活动开发的服饰在时尚上留下印记，而运动本身也帮助了烟筒型长裤的成型。

女性开始迷恋维克多 马格立特1922年的同名小说“拉加康内”（假小子女孩）中的形象。头发剪短成“伊顿发型”，并藏在cloches帽檐之下，腰线消失或下降到臀部线位置，胸部扁平化。

平纹毛衣，短百褶裙（裙摆20年代中期上身到膝盖），并搭配柔软的羊毛针织衫，使自由活动获得国际上的成功。

日常着装特色是非结构外套，到臀部长度的毛衣，简洁上衣与裙子。

夜晚的低腰连身裙使时髦女郎们更自由的在爵士俱乐部跳舞。