Step 1: Fold a large square shaped scarf into a triangle. Place the centre flat end of the scarf at the base of your head. Have the centre tip of the triangle go over the head and lay in front of the face.
Step 2: Take the left and right sides of the scarf cross over top of the head and tie around to the base of the neck. Make sure to tie tight enough to feel secure but not too tight or the turban will pop off.
Step 3: Tuck excess fabric into the underside of the scarf. Take the pointed tip of the front of scarf and tuck under the fabric at the crown of the head.
Step 4: Now you should have the perfect turban! Add a decorative clip for that extra glamour!
During the 1920s, Coco Chanel introduced inexpensive lines of what she called “illusion jewellery”, better known as “costume jewellery”, and soon the costume jewellery market exploded. (2)
Traditionally, the function of artificial gems had been to provide deceptive copies of precious originals. Chanel, who opened her own jewellery workshops in 1924, flouted this convention by designing jewellery with paste stones and fake pearls in colours and sizes that defied nature. She believed that jewellery should be worn to decorate, rather than to flaunt wealth. (1)
Turning tradition on its head, she herself often wore, during daytime, jewellery that would normally have been considered suitable only for evening – ropes of fake pearls or her distinctive coloured-stone necklaces or her brooches, inspired by Renaissance and Byzantine jewels. For evening, she frequently avoided jewellery altogether. (1)
Long strands of imitation pearls, faux gems, and opaque glass beads adorned the necks of both wealthy women and struggling shop girls across the nation, for they were as affordable as they were attractive. Of course, those women who could afford it still bought “real” jewellery, but fashion trends favoured those necklaces made of inexpensive glass, wood, and even papier-maché beads. (2)
A popular long necklace made of glass beads and ending in a beaded tassel, called a “sautoir” became known as “flapper beads”. Pendant earrings, frequently made of glass, often dangled below a women’s bobbed hair.
Bangle bracelets, constructed of celluloid, bakelite, chrome, or aluminium, were frequently worn several at a time, often on the upper arm left bare by a sleeveless evening dress. (2)
Trends that affected clothing often affected jewellery. The 1922 discovery of King Tutankhamen’s tomb, for example, initiated a craze for Egyptian-style jewellery, and the popularity of African-American nightclub entertainer Josephine Baker sparked a rage for heavy African ivory bracelets. (2)
(1) 20th Century Fashion – Valerie Mendes, Amy de La Haye, 1999 (2) The 1920s (American Popular Culture Through History) by Kathleen Drowne and Patrick Huber, 2004
The pared-down women’s fashions of the 1920s left little room for pockets, and so a well-dressed woman needed to carry a handbag in which she could keep her compact, lipstick, and a few other necessities. (1)
While morning appointments generally called for a more casual handbag made of fabric or leather, afternoon and evening engagements required a dressier bag, often constructed of mesh or fancy bead work. (1)
Some bags, called reticules, were pouch-style bags that closed with a drawstring and were made of fabric or, for evening wear, crocheted out of strands of glass beads. The “pochette”, another popular style handbag, was a simple, flat, rectangular bag that featured a clasp at the top and a short carrying strap. (1)
Metal mesh bags, introduced in the United States in the nineteenth century, also enjoyed tremendous popularity in the 1920s. They could be pleated in gold or silver, or enameled in Art Deco patterns resembling flowers, birds, sunbursts, or Egyptian or Oriental motifs. (1)
The late 1920s saw a vogue in reptile-skin bags, including those made from the hides of lizards, alligators, and snakes. Stylish women who carried these bags sometimes wore matching pairs of gloves. (1)
The shawl – a highly popular accessory from the early 1920s to the beginning of the 1930s. Variously draped around the body, and often fringed in silk, shawls added further dimensions to the pillar-like forms of prevailing fashions. They also provided warmth and comfort over flimsy 1920s attire. There were lavishly embroidered imports from India and China, as well as hand-painted versions by leading artists. (2)
SOURCES: (1) The 1920s (American Popular Culture Through History) by Kathleen Drowne and Patrick Huber, 2004 (2) 20th Century Fashion – Valerie Mendes, Amy de La Haye, 1999
Elegant accessories provided a frisson of excitement. There were feathered fans for flirting, cigarette holders for smouldering. Optional extras include huge plumes, long strands of pearls, row upon of plain bracelets and enormous single pear-shaped stones. Evening scarves were a new sensation; at first draped diagonally across the body, later knotted around the neck, and made from silk, satin or a combination of leopard skin and monkey fur. (1)
As they had in previous decades, hats remained a standard component of American women’s wardrobes during the 1920s, and while hats were not worn in the home or with fancy evening gowns, they were required apparel for most social engagements. (2)
Earlier in the century, enormous, wide hats were the rage, often adorned with long, dramatic feathers and pinned to a woman’s hair with dangerously sharp hatpins. In 1913, the Audubon Society succeeded in introducing a ban on importing the plumage of such rare birds as egrets and birds of paradise, whose feathers had customarily been used in millinery. (2)
The lack of dramatic plumage, coupled with the popular short haircuts of the 1920s, signalled the end of oversized hat. Large, striking hats did endure for the first few years of the decade, but around 1923, when the cloche hat (cloche means “bell” in French) was imported to America from Paris, small, trim hats became de rigeur of stylish women. (2)
The cloche hat’s deep crown and narrow brim fitted snugly over a woman’s head ad concealed her eyebrows and nearly all of her bobbed hair. Cloches were made of just about every material, including straw, felt, satin, velvet, rayon, and cotton, and could be worn at any time of the year. By 1928, some cloche hats had even been stripped of their small brim, making them look almost like a helmet. (2)
Cloches were often decorated with appliqué, ribbons, rhinestones, buckles, beads, small feathers, artificial flowers, or decorative clips, and most trimmings rested over the ear rather than on the front of the hat. Ornamental Art Deco hatpins, usually made of zinc, celluloid, or Bakelite, came into vogue late in the 1920s. Rather than attach the hat to a woman’s hair, these pins, often adorned with faux jewels, were intended merely to decorate an otherwise plain hat. (2)
Although cloches were by far the dominant style of women’s hats during the 1920s, other styles also enjoyed a certain measure of popularity. The turban, which basically amounted to a length of material wrapped horizontally around the head, offered one fashionable alternative to the cloche. (2)
During the 1910s, dancer Irene Castle initiated the fashion of wearing decorative bandeaux – headbands that wrapped around the forehead and could be made of anything from ribbons to rhinestones. By the beginning of the 1920s, women were wearing these headpieces, also nicknamed “headache bands”, as a standard part of their evening dress. (2)
Women also found soft tams and berets appealing, and when Greta Garbo wore a man’s slouch hat in the popular film A Woman of Affairs (1928), she ignited another national craze among American women. Garbo soon became a synonym for this style of soft felt hat with a high crow and drooping brim. (2)
And women riding in open cars sometimes protected their hair by donning leather aviator helmets resembling those worn by World War I pilots. (2)
(1) Vogues Fashion – Linda Watson, 2008
(2) The 1920s (American Popular Culture Through History) by Kathleen Drowne and Patrick Huber, 2004