Patricia: A St. Patrick's Day Flapper

Ladie Faire Doll Designs
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44th OOAK Design:

Patricia
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"[S]he refused to be bored chiefly because she wasn’t boring.
          --Zelda Fitzgerald, 1922

Patricia
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The following article by Bruce Bliven appeared in The New Republic on September 9, 1925.  (In this society column the author presents a fictional "Flapper Jane" as a stand-in for the "youth of today"--with all the slight bemusement and slight disapproval that all arbiters of society display when confronted by the harbingers of new fashions, fads and the other trappings of new generations.)

Jane's a flapper. That is a quaint, old-fashioned term, but I hope you remember its meaning.  ...  This Jane, being 19, is a flapper, though she urgently denies that she is a member of the younger generation. The younger generation, she will tell you, is aged 15 to 17; and she professes to be decidedly shocked at the things they do and say. That is a fact which would interest her minister, if he knew it--poor man, he knows so little! For he regards Jane as a perfectly horrible example of wild youth--paint, cigarettes, cocktails, petting parties--oooh! Yet if the younger generation shocks her as she says, query: how wild is Jane?

Before we come to this exciting question, let us take a look at the young person as she strolls across the lawn of her parents' suburban home, having just put the car away after driving sixty miles in two hours. She is, for one thing, a very pretty girl. Beauty is the fashion in 1925. She is frankly, heavily made up, not to imitate nature, but for an altogether artificial effect--pallor mortis, poisonously scarlet lips, richly ringed eyes--the latter looking not so much debauched (which is the intention) as diabetic. Her walk duplicates the swagger supposed by innocent America to go with the female half of a Paris Apache dance. And there are, finally, her clothes.

These were estimated the other day by some statistician to weigh two pounds. Probably a libel; I doubt they come within half a pound of such bulk. Jane isn't wearing much, this summer. If you'd like to know exactly, it is: one dress, one step-in, two stockings, two shoes.

A step-in, if you are 99 and 44/1OOths percent ignorant, is underwear--one piece, light, exceedingly brief but roomy. Her dress, as you can't possibly help knowing if you have even one good eye, and get around at all outside the Old People's Home, is also brief. It is cut low where it might be high, and vice versa. The skirt comes just an inch below her knees, overlapping by a faint fraction her rolled and twisted stockings. The idea is that when she walks in a bit of a breeze, you shall now and then observe the knee (which is not rouged--that's just newspaper talk) but always in an accidental, Venus-surprised-at-the-bath sort of way. This is a bit of coyness which hardly fits in with Jane's general character.

Jane's haircut is also abbreviated. She wears of course the very newest thing in bobs, even closer than last year's shingle. It leaves her just ahout no hair at all in the back, and 20 percent more than that in the front--about as much as is being worn this season by a cellist (male); less than a pianist; and much, much less than a violinist. Because of this new style, one can confirm a rumor heard last year: Jane has ears.

The corset is as dead as the dodo's grandfather; no feeble publicity pipings by the manufacturers, or calling it a "clasp around" will enable it, as Jane says, to "do a Lazarus." The petticoat is even more defunct. Not even a snicker can be raised by telling Jane that once the nation was shattered to its foundations by the shadow-skirt. The brassiere has been abandoned, since 1924. While stockings are usually worn, they are not a sine-qua-nothing-doing. In hot weather Jane reserves the right to discard them, just as all the chorus girls did in 1923. As stockings are only a frantic, successful attempt to duplicate the color and texture of Jane's own sunburned slim legs, few but expert boulevardiers can tell the difference.

These which I have described are Jane's clothes, but they are not merely a flapper uniform. They are The Style, Summer of 1925 Eastern Seaboard. These things and none other are being worn by all of Jane's sisters and her cousins and her aunts. They are being worn by ladies who are three times Jane's age, and look ten years older; by those twice her age who look a hundred years older. Their use is so universal that in our larger cities the baggage transfer companies one and all declare they are being forced into bankruptcy. Ladies who used to go away for the summer with six trunks can now pack twenty dainty costumes in a bag.

Not since 1820 has feminine apparel been so frankly abbreviated as at present; and never, on this side of the Atlantic, until you go back to the little summer frocks of Pocahontas. This year's styles have gone quite a long step toward genuine nudity. Nor is this merely the sensible half of the population dressing as everyone ought to, in hot weather. Last winter's styles weren't so dissimilar, except that they were covered up by fur coats and you got the full effect only indoors. And improper costumes never have their full force unless worn on the street. Next year's styles, from all one hears, will be, as they already are on the continent, even More So.

Want to read the rest of this article? Click here!

Patricia
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It has become tradition to make a doll inspired by "The Wearing of the Green," ie. St. Patrick's day, but this year, instead of doing so in a Victorian or Medieval style, I've chosen to bring it up to the 20th century--the 1920's that is!  Considering the penchant of jazz-age youth-about-town to indulge in theme-parties, this does not seem like such a stretch. 
 
So here she is: Patricia--ready to paint the town a bright shade of .... GREEN!

Patricia is decked out in Deco style--and lots of it!  Her outfit includes a beaded wrap,  Flapper-style party dress, stylish headband, the requisite long, beaded necklace (which flapped when ladies danced--hence the name Flappers), and beaded dancing shoes. 

A wrap preserves her from the night's chill coming to the party, and the early morning chill leaving the party!  I found this fabulous green ribbon with a beaded fringe to create this wrap from.  I added to the bands of green beads at the ends rows of gold and black beads to further tie the wrap in with the colors of the dress and other accessories.
 
The dress makes a statement in shiny green taffeta, and it is a unique design I made especially for this doll.  Dresses at the time often had wide and plunging necklines, wide armholes and narrow straps--with a filmy bit of translucent material sometimes inserted to maintain just a little mystery!  Here a  layer of black chiffon  and an Art-Deco ornament fills in the top of the deep-v neckline.  The dropped waist is accentuated with a belt of Art-Deco ribbon in red, gold, black and green.  The hemline is a drastic "handkerchief" style, created by three long petal-shaped pieces making up the skirt and showing generous portions of leg.  The shoulders are ornamented with epaulets of black and gold beads.

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McCall's Fashions 1925

Patricia
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Patricia
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Patricia
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Accessories include a headband of black braid trimmed with black feather plumes, peacock feathers, and a large "emerald" brooch in the center.  A hand-made long rope necklace of gold and black glass beads ending in little gold metal finials can be twisted or knotted at the ends.  The doll came with gold earrings and gold bead bracelet.  The high-heeled sandals were customized with gold glass beads.

Patricia
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The doll used for this design is a "Charice"--these dolls have great features and details for period designs.  She came with a "flaming" red bob hair-cut and full, bright red lips.  Her eyes were repainted, however, to better work with the design--she now has green-gold eyes and the dramatic eye-makeup typical of the 1920's.

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