Wool and metal, 1920-1930, France, P85.13.7, gift of Charles Enders.
Gallery FIT
March 6 – 31, 2018
Did you miss Pockets to Purses at the Museum at the Fashion Institute of Technology in New York City? Check out the exhibition website for a recap.
Pockets to Purses: Fashion + Function
Pockets and purses are often presented as opposites, yet both function as places to carry and store valuables. A close examination of their history reveals a nuanced interconnection rather than clear divisions between masculine and feminine uses and designs. This linked history is the focus of Pockets to Purses: Fashion + Function, viewed through the lens of fashion design.
During the eighteenth century, men’s pockets were stitched into a waistcoat or a jacket. Embroidery accented the location of the pocket and decorated the garment. However, men’s built-in pockets were limited in what they could hold without the contents disrupting the line of the tailored ensemble. In contrast, women wore detached pockets tied around the waist that remained hidden under their skirts. Voluminous silhouettes allowed women to fill their pockets with a variety of items without creating a bulge. An etiquette book, Eighteen Maxims of Neatness and Order, suggested that women should carry domestic tools, including a needle and thread, thimble, pincushion, pencil, knife, and scissors.
Wool needlepoint, suede, jade, and rock crystal, circa 1930, France, 75.109.48, gift of Mrs. William Randolph Hearst, Jr.
At the end of the eighteenth century, a narrower silhouette emerged, and without the dimension of the previous styles, fashion could no longer conceal a pocket under the skirt. A style of purse known as a reticule appeared. Carried on the wrist, it became a fashionable accessory for women. The exhibition includes a reticule made from a man’s waistcoat with a drawstring cord added to complete the transformation. This composite accessory blends methods of holding belongings, underscoring their linked histories.
An increase in available leisure time for the middle and upper classes ushered in widespread use of a variety of handbags as well as new pocket functions. During the early nineteenth century, both men and women carried elongated, handcrafted bags, known as miser’s purses. Crafted by women with free time and acquired skills, they demonstrated status and were often presented as gifts to loved ones.
Carpet bags were prized by both sexes for their capacity and durability for travel. Specialized pockets in men’s outerwear were designated to hold tickets for the train, the theater, and other events. By the early twentieth century, smoking and applying makeup in public had become more acceptable for women, and purses began to accommodate these activities. A 1925 accessory set includes a coin purse, cigarette case, and cosmetic compact that coordinate to match an evening bag.
Twentieth-century designers began to explore pockets in women’s garments as elements that could be as ashionable as they were functional. Edward Molyneux added dimensional pockets to a woman’s suit to emphasize her slim waist rather than to hold the contents of her handbag. Claire McCardell included hidden sideseam pockets in many of her dresses that could be highlighted by casually placing a hand inside. Bonnie Cashin was well known for her playful pocket designs. Her lime green raincoat includes an appliquéd strap and a twist lock closure around the pocket that mimic the look of a hands-free shoulder bag.
Read the full story at Fashion Institute Of Technology.
