5 Fearless Flying Females You Need to Know

Flying in the 1900s was not for the faint of heart. It was relatively so new, the Wright brothers having just sustained the first heavier-than-air aircraft in flight in 1903, and required such skill that crashes were commonplace. The cockpits were uncovered in the open air (no seatbelt) so if the plane were to flip upside-down unexpectedly, pilots could fall out. Not surprisingly, because of the risk and skill involved in piloting a plane, this was considered to be a man’s domain although there were still brave women undeterred.

Not likely to be hired as pilots, adventurous women would often initiate their own air shows and stunt flying, called “barnstorming.”[1] As you can imagine, at that time, not only did spectators want to see the death-defying stunts but also to watch them performed by a female pilot, or aviatrix was an added novelty. As the 20th century progressed, female pilots evolved from barnstorming stunts to achieving new records in flight. Throughout the Femme Fashion Forward period (up until 1930) flying was still dangerous in many regards, and it took certain amount of courage that few possessed.

These women were brave and defied the norm, but often did so with an irresistible flare. Pushing the boundaries of what women were believed capable of, and perhaps with an enviable level of confidence and bravery, it’s no wonder many others looked to them as inspiration. Here are 5 women in particular that you may not have heard of, but at that time were widely known for their skills in the air. From a fashion history perspective, I think it is important to note what these women were wearing, which was often a blend of clothing from the “male” flying domain and womenswear.

 

Harriet Quimby

(1875 – 1912)

Harriet Quimby 2

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A Stitch in Time: Clothing and Textiles of the Meadowlands 1890-1915

Exhibit open at the Meadowlands Museum now through September 29, 2018

A Stitch in Time with Date.jpg

As you may have seen from my recent social media photos, I have been involved with this project for the Meadowlands Museum as a volunteer Curator and spoke last week at the Museum. This project was like a dream come true in terms of being able to curate my own exhibit on fashion history! What surprised me the most was that the more I (and the wonderful exhibition team) dug into the textile industry of this region, the more there was to find. And not just in bits and pieces — more like an avalanche of information!

Curator Talk 6.2.2018.jpeg

Me at the Museum for the Curatorial Talk on 6.2.2018. Behind me you can see a silk gown from 1904 (first made in 1888) and a silk plaid jacket from the late 19th century.

 

Paterson, NJ, now in an economic slump, was once known as the Silk City or the Lyons of America. They had numerous silk mills, silk ribbon factories, and many other ties to producing clothing and textiles. Though Paterson is not in the Meadowlands, it is one of the many towns that neighbors the Meadowlands area. East Rutherford, within the Meadowlands, had a successful bleachery that spanned generations and the bleachery’s owner, William McKenzie, became an active force in shaping both East Rutherford and Rutherford, NJ. Passaic, another neighbor to the Meadowlands, was a major source of wool and cotton production for the nation at this time. They had countless factories producing fine cashmere goods, handkerchiefs, worsted wool goods, etc. Northern New Jersey, also touching the north end of the Meadowlands, I found interesting in terms of why it was chosen as a location for embroidery production. Even today, a sign on an overpass in Union City still reads, “Welcome to North New Jersey: Embroidery Capital of the World Since 1872.” This area was situated between two fashion and textile powerhouses, Paterson and New York City, which provided goods needed as well as skilled factory workers. Also, North New Jersey is built upon sturdy bedrock which was important for the embroidery machines that weighed between 5-8 tons. They drilled 20 foot shafts for the machines into the earth in order to prevent the embroidery needles from vibrating. Kearny, also within the Meadowlands, was a major producer of thread and was home to the well-known Clark Thread Company.

The exhibit is broken up into 4 major sections: Silk, Wool, & Cotton Mills; Buttons and Thread; Bleachery; and Embroidery & Silk Ribbon. Throughout each section, garments from the Museum’s collection are used to highlight these areas of production while connecting this to the larger fashion picture and what stylish residents of the Meadowlands may have worn during that time.

This information just skims the surface of the exhibit, but I hope it’s enough to entice you to head to the Meadowlands Museum and check it out!

For more information on the exhibit, go HERE to the Museum’s website

Lane Bryant Jacket with MM

This Lane Bryant jacket and shirtwaist relates to the section on embroidery. The jacket is from 1915. Lane Bryant was one of the first companies to commercially produce maternity wear and “stout wear,” or plus-size garments.

 

-Danielle Morrin

 

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Wedding Dresses 1888 – 1930

Wedding Blog Post
 info on images below
There’s no doubt that wedding dress styles, though steeped in tradition (and much of this due to precedent set by Queen Victoria), change according to the prevailing modes of the time. This was just as much true between the 1880s-1930s as it is today. In honor of the recent marriage between Prince Harry and Meghan Markle on May 19, Femme Fashion Forward will showcase wedding dresses throughout the years of the FFF timeline with stylistic notes.

 

To start off, this video on the exhibition Wedding Belles that took place at the Hillwood Museum from 2011-2012, gives a great overview of the changing styles of wedding dresses. It presents three generations of women’s wedding attire from the Marjorie Merriweather Post family, 1874-1958  >>  Wedding Belles

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The Body: Fashion and Physique, Victorian – Edwardian Highlights

This month you may have noticed some posts on Femme Fashion Forward social media featuring images of objects in the Museum at Fashion Institute of Technology’s (FIT)s, The Body: Fashion and Physique exhibit, curated by Emma McClendon, which is open until May 5. If you have not seen it yet, I highly recommend you take a trip to the Museum at FIT! I want to round out this month by including some other objects in the exhibit from the late 19th to early 20th century, although the exhibit extends earlier and later beyond those dates. These selected objects from the exhibit highlight major differences between a stylish silhouette and physique from the 1880s-1910s and today, dispel some myths about corsetry, and may also be cause for reflection upon the ways in which some of these ideals have stayed with us through time.

FIT1                 Both corsets belong to the Museum at FIT: 98.29.4 and P91.43.2

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What is The Dakota?

The Dakota is a place of residence in New York City, but it’s more than just the building at 1 West 72nd Street along Central Park West. It was, and is, a luxurious apartment complex and has become one of the most exclusive addresses in New York City. It is often called the most famous apartment building in NYC, as it is considered to be the first luxury apartment building in Manhattan, and has gained recognition and a cult following over the years, though it did not always have that connotation.[1]  The building’s co-op board is infamous for its inclusion of popular cultural icons and celebrities, as well as its rejections. Can you believe that Madonna and Billy Joel were rejected from living here? Not only is the façade imposing, the current qualifications for actually living at the Dakota are intimidating as well, with rigorous background checks, financial statement submissions, etc. (the board has also supposedly been accused of bias among other things, but that’s not something we’ll explore in this post).

Dakota Ice Skating

Ice skating in front of the Dakota, ca. 1890, as seen in Life at the Dakota by Stephen Birmingham (originally from Museum of the City of New York)

But let’s get back to the era of 1880-1930. Why talk about a building instead of dress? I thought this would be an interesting, brief detour from clothing itself, because your address, like clothing, can act as a social statement. This is a more holistic look at style during the 1880s, and a nod to the major architectural changes that were happening in the late 1900s, as impressive buildings were newly dotting the city skyline.

5th Ave

This painting by Theodore Robinson is titled Fifth Avenue at Madison Square, 1894-95, [Public domain], via Wikimedia Commons

The Dakota was completed in 1884, by architect Henry J. Hardenbergh.  At this point in time, “the fashionable area to live was now Murray Hill, on Madison Avenue north of Thirty-fourth Street, where a few years earlier gentlemen of fashion had gone quail hunting, though a few diehard families like the Astors still clung to their mansions on lower Fifth Avenue.”[2] The Upper West side was not yet densely populated like it is today, as not many people lived beyond 42nd Street.  Edward Clark, who commissioned The Dakota, sought to change that and establish the area as a suburban connection to the frenzied downtown Manhattan [As a fashion side note, Clark was a co-founder of the Singer Sewing Machine Company. [3]] In fact, many suggest that due to the fact that this building was constructed in such an uninhabited area, it led to the nickname The Dakota, as in, it was so far away from the bustle of lower Manhattan it was as if it were built in the wild west (the Dakota territory was not yet a part of the U.S. when the Dakota was built).

Dakota

The Dakota ca. 1890, [Public domain], via Wikimedia Commons

Apartments were not common for the wealthy of New York City in the 19th century, and much of high society lived in mansions on Madison or Fifth Avenue. When the Dakota first opened in 1884, it did not attract the upper echelons of society, though it was considered a chic building.[4] It would take some time, more towards the 1920s, before the most elite of New York society would consider living in an apartment over a mansion on Fifth, Madison, or Park Avenue. Apartment complexes were also still relatively new as a concept in the late 19th century, even for middle- and upper-class families.  Stephan Birmingham of Life at The Dakota wrote, “Apartment houses, like the gaudy hotels, were regarded as architectural inducements to immorality. […] Apartment living implied a sleazy and suspicious transience.” [5] It was not seen as a choice to rent, but rather a failure in ownership. It also seemed indecent to have a bedroom on the same floor where you would eat, drink, and socialize.

A Winter Wedding

This painting by Fernand Lungren is called, A Winter Wedding — Washington, Square, 1897, as seen in Paintings of New York: 1800-1950. You would likely see Dakotans wearing similar ensembles.

With this in mind, by the 1800s, New York City had become a prominent location, but an expensive one too. People of moderate means would soon be priced out of areas where buying or renting a house was becoming too costly. One of the first New Yorkers to experiment with “French Flats,” no doubt banking on the caché of adding the word “French,” was Rutherford Stuyvesant. To much surprise, when the moderately-priced building was completed in the 1860s, all of the apartments had already been rented, and soon other builders were planning their own apartment complexes.[6]

Dakota sketch

Print from a wood engraving of the Dakota interior from 1884, as seen in the collection of the Library of Congress

However, Clark had bigger plans for the Dakota in 1880 and commissioned the most luxurious apartment building in New York City in terms of room size, opulent interiors, and property amenities. He payed an unprecedented 2 million dollars to complete the project, and the result would be an elaborate, eclectic architectural mix.[7] Practical elements, like the service and lobby elevators (a novelty in and of themselves in the 1880s) and thick walls and floors for excellent insulation, would play an important role in comfortably accommodating tenants, while rich details like rare marble and fine wood carvings would attract a well-to-do clientele, typically, bankers, lawyers, and merchants (the amazing views of Central Park and the property’s tennis courts didn’t hurt either).

The Old Guard, like the Astors, still balked at the idea of living in the Dakota and the kind of tenants the building attracted were not the usual old money social strivers. The Dakota’s residents “conveyed a vaguely intellectual and artistic tone. Socially, this set the early Dakotans apart from the members of Mrs. Astor’s inner circle, where anything that smacked of intelligence and wit was actually frowned upon.”[8] Mrs. Astor’s circle, a literal list of the “Four Hundred” people whom she deemed acceptable to socialize with, primarily consisted of long-standing wealthy families of good taste. On the other hand, the Steinways, of Steinway Pianos, were some of the Dakota’s first residents, and the epitome of a family that was relatively wealthy and educated but would never have been accepted in the Astor’s social circle, because of their newly acquired wealth and immigrant status.

Dakota from Central Park

View of the Dakota ca. 1887 from https://www.bloomberg.com/news/articles/2015-08-05/the-dakota-inside-new-york-s-most-extravagant-apartment-building

Regardless, the Dakota filled its apartments immediately (though it still remains unclear whether the venture was a financial success for Clark), and soon, other builders were looking to create similar apartments with large rooms, and luxurious offerings, and some even gave them a Western-inspired name, like the Nevada or the Montana. It began to represent a way of life unrestricted by the rigid social codes of Mrs. Astor’s “400.” As described by Birmingham, it wasn’t necessarily fashionable, but apartment living was now considered “smart” and even a little edgy.[9] The West side and apartment living in the late 19th century and early 20th century would never be considered the height of fashion, but it could offer an elevated lifestyle in terms of more space for less cost, and that was desirable for many, and especially for those who eschewed the Astor’s social ladder.

The long-standing building has gained considerable elite status, but it wasn’t until the 1960s when stars like Lauren Bacall, Yoko Ono, and John Lennon, among others began to inhabit the Dakota. Though the upper crust initially turned up their noses to the idea of apartment living, the Dakota was the first to chip away at this ingrained perception of apartments as a lower class way of life. The building had a unique style unto itself, and this opulent structure has grown rich in legend while maintaining its architectural integrity. It’s interesting from a fashion perspective, because we often find that ideas and styles on the fringes of society make their way into the mainstream over time. The Victorian-gothic mix of this building has certainly always been luxurious and is now, without question, an iconic architectural staple of New York City.

Above View

Ariel view of the Dakota, http://www.businessinsider.com/15-crazy-facts-about-nycs-dakota-building-2015-8

 

In this post we stick to the origins and details within the Femme Fashion Forward Timeline, 1880-1930, but if you’re looking for more current information this article mentions some important points in the Dakota’s history outside of the FFF era. You can also click here to see a current version of what the Dakota’s apartments would look like.

 

–  Danielle Morrin

 

[1] Carrie Hojnicki, Architectural Digest, https://www.architecturaldigest.com/story/dakota-apartment-building.

[2] Birmingham, Stephen, Life at the Dakota, New York: Random House, 1979, 5.

[3] Carrie Hojnicki, Architectural Digest, https://www.architecturaldigest.com/story/dakota-apartment-building.

[4] Michael Gross, 740 Park: The Story of the World’s Richest Apartment Building, New York: Broadway Books, 2005.

[5] Birmingham, Stephen, Life at the Dakota, New York: Random House, 1979, 15.

[6] Ibid., 17.

[7] Ibid., 19.

[8] Ibid., 43.

[9] Ibid., 48.