The spring edition of _Sears, Roebuck and Co. Catalog_ for 1916 offered a one-piece, or "California-style," knitted worsted bathing suit with the underpiece sewn to a skirt. This costume was less elaborate than the other dresses shown, although it was still knee length. The 1918 spring catalog showed two one-piece knitted outfits suitable for swimming in striking contrast to the surplice bathing dresses that were also offered. By 1920 all of the bathing costumes ill.u.s.trated in the _Sears, Roebuck and Co. Catalog_ were of the more abbreviated and functional type.

In 1918 Annette Kellerman recommended that serious swimmers wear close-fitting swimming tights or the two-piece suits commonly worn by men. Being quick to admit that this costume would not be tolerated at all beaches, she told dedicated swimmers to

... get one-piece tights anyway and wear over the tights the lightest garment you can get. It should be a loose sleeveless garment hung from the shoulders. Never have a tight waist band.

It is a hindrance. Also on beaches where stockings are enforced your one-piece undergarment should have feet, so that the separate stocking and its attendant garter is abolished.[58]

[58] Loc. cit. (footnote 54).

[Ill.u.s.tration: Figure 16.--ONE-PIECE SWIMMING SUIT OF KNITTED WOOL, c.

1918. (Smithsonian photo P-65413.)]

Knitted swimming suits found in advertis.e.m.e.nts of the period were either one-piece or two-piece; the trunks were attached or separate, but they always extended a few inches below the brief skirt. Although this costume could be considered sleeveless, in some examples the suit was built up under the arm--a concession to the demands of modesty (fig.

16). The scooped or "V" neckline with no collar was relatively high; in order to put on or remove the suit it was unb.u.t.toned at one shoulder.

It was this type of swimming costume which evolved into the garment that dominated the fashion pages of the mid-1920s.

Changes in costume brought about by the acceptance of swimming also affected leg covering. By 1920 fashion pages showed stockings that reached only to the calf and many advertis.e.m.e.nts for the abbreviated knitted bathing suits presented the lower leg covered with only the high laced bathing shoe (fig. 17) or, in a few cases, bare. Bathing slippers were black satin or black or white canvas held on the feet by ribbon criss-crossed up the leg to tie at mid-calf. Shoes were of satin or canvas, laced in the front to mid-calf.

There was a wide variety of colorful rubber caps; some were gathered on a band or with a ruffle while others were closely fitted with brims.

Also popular was a close-fitting rubber cap with a colorful scarf tied around it; swimmers did without the scarf.

Despite the distinction between the two types of bathing apparel, the beach cloak continued to be used by both the serious swimmer and those who stayed safely in the shallows. Some bathing wraps had large collars and were only mid-calf in length. Colorful beach hats, beach parasols, bags, and blankets were used, particularly by the bather who seldom got wet.

The acceptance of swimming as a feminine activity provided an impetus for the use of the knitted swimming suit; but standards of modesty had to change before this suit could gain wide acceptance. Bathing dresses of the 19th century had been designed to cover, conceal, and obscure not only the torso but the limbs as well. The swimming suit that was gaining acceptance in the early 1920s not only revealed the arms and a good part of the legs, but actually dared to follow the lines of the torso.

Contemporary descriptions, that seem amusingly cautious today, included such statements as "... all Annette Kellerman Bathing Attire is distinguished by an incomparable, daring beauty of fit that always remains refined."[59] Even less cautious was a statement that these bathing suits were "famous ... for their perfect fit and exquisite, plastic beauty of line."[60]

[59] _Harper's Bazar_ (June 1920), vol. 55, no. 6, p. 138.

[60] Ibid. (June 1921), 54th year, no. 2504, p. 101.

The growing numbers of women who wore the new styles of bathing dress were a cause of concern to self-appointed guardians of decency. In 1917 the convention of the American a.s.sociation of Park Superintendents at New Orleans adopted a series of bathing regulations for city beaches which dealt with the problems of the changing bathing suit. In general these regulations specified that "... No all-white or flesh-colored suits are permitted or suits that expose the chest lower than a line drawn on a level with the arm pits."[61] In regard to ladies' bathing suits these men agreed that

Blouse and bloomer suits may be worn with or without stockings, provided the blouse has quarter-arm sleeves or close-fitting arm holes, and provided the bloomers are full and not shorter than four inches above the knee.[62]

[61] "Bathing Regulations for City Beaches," _American City_ (May 1917), vol. 16, no. 5, p. 537.

[62] Loc. cit. (footnote 61).

Regulations for knitted suits were similar, with the added caution that the skirt hem could be no more than two inches above the lower edge of the trunks. As late as 1923 these regulations were in effect at public beaches in Cleveland and Chicago.

By 1923 a permanent change was occurring in the design of beach apparel.

The chemise-style bathing dress of black taffeta or satin still appeared in the fashion magazines (fig. 15), but by 1929 it had disappeared. The result of the struggle between the fancy bathing suit and the plain knitted suit became obvious even in the popular magazines of the period.

In the opening paragraphs of a short story, Shirley, the villainess, donned a smart bathing suit of puffy black taffeta, with a patent-leather belt and a scarlet scarf, and baked in the shadow of a big umbrella. Margaret, the heroine, in a plain knitted suit and black cap was intent only upon diving, plunging, and splashing for her own enjoyment. In another story a young lady, who came out of the sea wearing a "... bathing suit so scanty it seemed a mere gesture flung carelessly to the proprieties ..." described herself as a modern young woman.[63]

[63] JANE PRIDE, "Pick-up," _Delineator_ (May 1927), vol. 110, no. 5, p. 15.

In the early twenties advertis.e.m.e.nts capitalized on the functional characteristics of swimming suits. A 1923 advertis.e.m.e.nt declared:

No! No! Not a bathing suit! No! The Wil Wite is a swimming suit.

The difference is great--very great. A bathing suit is something in which to "Sun" oneself and wear on the beach. A swimming suit is a garment made expressly for those who swim. It is free from frills and furbelows. It follows the form with the same sincerity that a neat silk stocking clings to a trim ankle. It fits when dry or wet ... it is a real swimming suit.[64]

[64] _Harper's Bazar_ (June 1923), 56th year, no. 2528, p. 5.

The knitted swimming suit which achieved dominance over the bathing suit in the 1920s was similar to its earlier version except that both the armhole and the neckline were lower. This made it possible to put on the suit without unb.u.t.toning one of the straps at the shoulder--a feature that was omitted in this newer style. Sometimes a sash was looped loosely around the waist; a geometrically shaped monogram provided a smart decoration. The affluent swimmer could distinguish herself from the ma.s.ses by wearing silk jersey. During the last half of this decade women coquettishly adopted a man's swimming suit, consisting of a striped sleeveless jersey shirt with dark colored trunks and a white belt.

[Ill.u.s.tration: Figure 17.--BATHING SHOES, 1910. (Smithsonian photo P-65417.)]

Perhaps the last stand for the bathing dress was the appearance of the "dressmaker suit" toward the end of the 1920s and on into the early 1930s. The neck and shoulder line copied those of currently fashionable evening dresses, with a parallel treatment of the skirt, which was shortened to end just below the hips. This suit was worn by women reluctant to brave the revealingly unadorned but popular swimming suit.

A depilatory advertis.e.m.e.nt took advantage of the increasing "stockingless vogue" and explained that "Women who love swimming for the sake of the sport, find stockings a great hindrance to their enjoyment."[65] By the end of the twenties, the stocking for bathing and swimming had become an article of the past.

[65] _Delineator_ (June 1923), vol. 102, no. 6, p. 95.

Although women were accepted in athletics and had achieved a generally wider role in public life, white, untanned skin was still the ideal in the 1920s. Thus sunproof creams, beach coats, and beach umbrellas were still important.

According to the well-known "trickle-down" theory of fashion, styles of dress first become fashionable among the socially elite and wealthy and are then, in time, emulated by those at lower socio-economic levels. The knitted swimming suit, however, entered the fashion pages by a different route. It had its insignificant start with the skirtless bifurcated garments of the late 1860s. Going against popular opinion, some women did swim. They violated prevalent standards of modesty by continuing to wear a functional suit. Gradually the demand grew. A plain, utilitarian garment was needed; pressure increased. Thus, by the 1920s the swimming suit prevailed, complimenting the image of the newly emanc.i.p.ated "modern woman."

SWIM SUIT INDUSTRY

Along with the increased popularity of swimming and the appearance of the knitted swimming suit we note the rapid development of the ready-to-wear swim suit industry. During the last half of the 19th century women frequently made their own bathing dresses with the aid of paper pattern supplements that appeared in women's magazines of the period. Dressmakers also may have used these patterns to outfit their clients for their summer excursions. On the other hand, ladies in the large cities could purchase bathing dresses at furnishing stores or rent them at the large public beaches. A small advertis.e.m.e.nt in _Harper's Bazar_, August 9, 1873, announced that in addition to gauze undershirts, linen drawers, collars and cuffs, Union Adams & Co. of New York had bathing dresses for sale. The notice is noteworthy when one considers that the ready-to-wear clothing industry and the field of advertising were in their infancy.

With the increased popularity of the knitted suit, knitting mills included men's and women's swimming apparel in their more prosaic lines of underwear and sweaters. Many companies advertised the new product, steadily increasing their range until the inevitable occurred. In 1921 a national advertising campaign for swimming suits was initiated by Jantzen, a hitherto obscure knitting mill whose production had been limited to sweaters, woolen hosiery, and jackets for Chinese workmen.

Capitalizing on the growing interest in swimming, Jantzen prominently advertised swimming suits instead of bathing dresses. The retail stores selling these suits advertised locally, but national advertising became the domain of the manufacturers, educating the public to a.s.sociate certain positive qualities with their names.

To the delight of the swim suit industry, swimming was more than a pa.s.sing vogue. In 1934, a National Recreation a.s.sociation study on the use of leisure time found that among ninety-four free-time activities swimming was second only to movies in popularity.[66] Although the number of swimmers was increasing, compet.i.tion caused the swim suit industry to take a new approach. Manufacturers attempted to increase the volume of sales through advertising by emphasizing style. In 1927 one company advertised a national appeal to woman's vanity by declaring that beach _uniforms_ were out and that beach _styles_ were in.

[66] _The Leisure Hours of 5,000 People; a Report of a Study of Leisure Time Activities and Desires_ (New York, National Recreation a.s.soc., 1934).

It was a general characteristic of the 1930s that swimming suits covered less of the bather. The attached trunks of the swimming suit no longer extended down the leg but it survived unseen beneath the vestigial remains of a skirt.

The diminishing coverage of the swim suit was also related to a changing att.i.tude toward sun exposure. For years women had protected their delicate skin to prevent any unladylike, healthy appearance. The barrier against a lady having a tan deteriorated as women became accepted into athletic activities. By 1930, women eagerly sought a sun tan. Not only were there lotions to help the neophyte sun-worshiper acquire a rich even tan, but creams were available for the impatient who wished an instant tan. In line with this trend, swim suit manufacturers and sellers promoted and sold low sun-back or California styles, halter necks, and cut-out sections that exposed various portions of the midriff. The favorite suit, however, was the form-fitting maillot of wool jersey with no skirt.

In the early 1930s, the textile trade journals applauded the increasing stress on styling as a means of encouraging the consumer to buy a new suit rather than to use "last year's." Stylishness was introduced into knitted suits through the use of a greater range of solid colors.

Parti-colored suits, with stripes and slashes of a second or even a third color, were also featured (fig. 18). Knitting mills were pressed to introduce novelty effects such as mesh, waffle motifs, and lace patterns in knitted fabrics.

[Ill.u.s.tration: Figure 18. ONE-PIECE SWIMMING SUITS OF KNITTED WOOL, 1930. (_Courtesy of Cole of California._)]

The insistent emphasis on novelty encouraged the development of such items as all-rubber swimming suits with embossed surfaces simulating knitted textiles. Although this innovation was not successful, because the suits were clammy and easily torn, rubber did find a definite use in swimming suits with the introduction of Lastex--a yarn made with a core of rubber wrapped by a fine thread of another fiber. The following advertis.e.m.e.nt for swimming suits made with Lastex best explains why this important innovation is still valued by the industry today:

There's no wrinkle, no bag, no sag, even under the most ruthless sun! No other human device can even approximate that utter freedom, that perfection of fit, at rest or in motion, that airy but strictly legal sense of wearing nothing at all. There is no subst.i.tute for this elastic yarn, which imparts lasting elasticity to any fabric.[67]

[67] _Harper's Bazaar_ (June 1934), 68th year, no. 2660, p. 9.

Having exhausted the novelty effects of knitted swim suits, women in the late 1930s began to respond eagerly to the wide range of decorative possibilities found in woven fabrics. Cotton and the relatively new man-made fibers such as Celanese acetate and Dupont rayon were used in fabrics such as ginghams, chambrays, piques, and featherweight elastic satins. To the pleasure of the fashion editors, who claimed to be anxious for some relief from the nudity of the maillot, suits of woven fabrics were made with flared skirts. These had knitted linings of cotton, acetate, or wool which satisfied any taste as to warmth or coolness on the beach. The belief was prevalent that a wool swimming suit was needed for warmth. In the 1940s the two-piece, bare-midriff suit with tight shorts or flared skirt was a popular and logical development from the earlier suits with cut-out sections around the midriff. The more extreme French bikini, however, was not adopted by American women when it was first introduced in the 1940s.

By the end of the forties the one-piece swimming suit staged a comeback with a slight variation: the new suits were structurally sculptured to mold, control, and stay put while swimming or sunning. They were the product of ingenious engineering, inside and out. The use of shirring and skillful cutting and handling of fabric focused attention on the bust line, while the frequent use of Lastex tended to streamline the hips like a girdle. Inside, the careful use of wire and plastic boning permitted many of these suits to a.s.sume a shape of their own and even to be worn without straps.