MAKING HISTORY

1920S FLAPPER GIRL HEADPIECE

BY AMANDA ODORICO
#500550838

FSN302
DR. ALISON MATTHEWS DAVID

Table of Contents
History and Culture........................................................ 2
The Flapper.................................................................... 2
Explantion......................................................................... 5
Materials and Techniques............................................ 7
Annotated Bibliography............................................... 8
Inspiration Page...............................................................11
Sketches...............................................................................13
Supplies and Set Up.......................................................14
Process of Tambour Beading.......................................15
Putting it Together..........................................................17
Finished Product..............................................................19
References...........................................................................20

History and Cultural Background

The 1920s was an exciting period and an emotional roller coaster worldwide, especially
in the United States of America. A couple of years before, World War I ended, bringing the men
back home (Laver, 213). While this was a victory and a blessing, it created a rise in
unemployment and therefore fewer people were spending money on consumer goods. Yet in
1922, the economy grew with the production of automobiles, radios and other consumer items
(Drowne, 5). Another shift within America was the surge in migration from African Americans
living in the South. They were moving north to get away from segregation and racial violence
resulting in competition between the Caucasians and the African Americans for jobs and homes
(Drowne, 9). Furthermore, one of the most iconic movements in American history was the
enactment of the Eighteenth Amendment which went into effect on January 16, 1920,
proclaiming manufacturing, sale, or transportation or intoxicating liquors with, the importation
or exportation.for beverage purposes is hereby prohibited (Drowne, 13).
The Flapper
The twenties were a time of fluctuation and revelation, particularly for women in
America. It was a time when young women were transforming the traditional ways and their
defiance challenged the status quo. The skirt hems were raised, makeup became more apparent,
and hair was cut short with styles from the bob to the shingle adorned with hats and headbands
embellished with beads, feathers and netting. Not only did fashion change, so did attitudes.
Women began to drink and smoke, which was considered very unladylike (Laver, 232).
Theories as to why the ladies of America were altering their ways include the conclusion of the
war. As men were returning home, females who had been working in the factories were sent
home to be housewives and homemakers. Feeling slighted, women rebelled and protested by

carrying out deeds normally associated with male conduct (Drowne, 19). In other words, they
were searching for equality. Another thought stemming from the older generation as to the
controversy of womens actions participating in tomboyish activities such as crossdressing,
smoking, cutting their hair off, and motor boating and yachting, was explained as lesbianism
(Doan, 668). This behavior was strongly discouraged and in many states even illegal.
Media exaggerated these activities with stories and movies reflecting this shift in female
exploits. This is a period of time when the personification of the flapper girl became popular.
Reproaching their careless morality, their bold sexuality, and their defiance of traditional
behaviours, (Drowne, 38, 39) flappers became the idols and role models for many young
women. Sex symbols in many Hollywood movies glorified smoking, drinking and provocative
dancing and the youth flocked in large numbers to see these motion pictures (Drowne, 39). Not
only did the movie business benefit from the revenue of the youth attending the cinema, but
youth consumerism skyrocketed. Shifts in advertisement focused on a younger generation who
were purchasing products and services seen in the movies, because they wanted to imitate their
idols (Drowne, 53).
While films and advertisements were profiting over the concept of the flapper, there were
other groups negatively spreading slander about flappers. The Evangelists would preach in their
sermons about the sins of the flapper, which brought even more attention to the flappers
themselves. They discussed their inappropriate dresses, undesirable use of cosmetics and their
proud behaviours that would not follow a traditional lifestyle (Robinson, 55). While this
religious group vilified the flapper community, there was some danger for evangelist females
resembling flappers. The common blonde bobbed hairstyle was considered to be the badge of
flapperhood (Robinson, 57) and any females who sported any similar hairstyle was verbally

punished by the preachers and would potentially ruin a female evangelists preaching career
(Robinson, 57). In other words, the public were judging flappers based on their appearance and
singling them out if they had any of these attributes. These thoughts spread throughout society,
which painted a pessimistic picture of the flappers. For this reason there was talk to make it
more difficult for flappers to live in their society.
The older generation thought lowly and objected to this new trend, and insisted that the
government step in to take action. In Utah and Ohio, legislative bills were brought into place to
deter this sort of behaviour. In Utah, women would be fined or imprisoned for those who wore
on the street skirts higher than three inches above the ankles (Laver, 232). Similarly, in Ohio,
young women who were over the age of fourteen were prohibited from wearing a skirt which
does not reach that part of the foot known as the instep (Laver, 232).

Explanation
The 1920s was an exciting time in history, which created change for future generations.
The idea of pushing boundaries and creating controversy is why I chose the flapper as my
inspiration for my Making History Assignment. I decided that the headpiece was the iconic
symbol I would recreate. It was difficult finding sources that specifically showed how to
replicate a headpiece. However, with persistence and determination I created my project.
First I visited the Ryerson Fashion Research Collection looking at dresses from the
1920s. Since there were no flapper headpieces in the collection I discussed with the curator,
Ingrid Mida, the fabric that was popular during this era, and the type of beading that was done.
Then I researched French Tambour Beading which included visiting beading websites, watching
videos, and reading books. During my research I found images and text discussing headbands
that were beaded during this time (Laver, 229). Furthermore, I discovered that popular fabrics
used in this decade were velvet, satin, crepe de chine, silver or gold lam and chiffon (Huber,
101). I came to the conclusion that tambour beading was the way to create this piece. Many of
the images I found and dresses I studied showed floral motifs.
With most of my research behind me I began to tambour bead. With my original design
in mind I tried to match the style of patterns in the Research Collection. The beading was more
challenging than expected and took about 24 hours in total to finish, spread over a period of a
couple weeks. Once the beading was completed, it was time to put the headpiece together. I
decided that the best way to display my headband was on a Styrofoam head. Measuring the band
across the head, marking it, and doing a French seam, I used a sewing machine to close it. In my
research I was unable to find any information on how to secure the piece, however while looking
at the Research Collection I noticed one of the samples had a French seam inside the dress. The

remainder was hand stitched using a French slip knot to secure the pieces. It was fashionable to
have two smooth and straight feathers mounted on an angle (Laver, 229) so the last item to
complete the look of the headband were feathers, which were attached by sewing a chiffon case
around the bottom of the feathers and then sewing the chiffon to the headband.
I decided to recreate the hair style and makeup flappers wore and finished this look on the
Styrofoam head. Flappers would confidently wear the blonde bobbed hair (Robinson, 57), and
would wear bright red lips, grey eyeshadow, thick lashes, defined eyeliner and dark penciled-in
eyebrows (V is for Vintage).

Materials and Techniques

Tambour beading and embroidery originated in India and was passed on to the Europeans
in 1759. Evening wear worn by many women throughout history, including the flappers, was
made of lightweight luxurious fabrics such as silks, satins and chiffon based garments (Haven).
With the fabric being so lightweight, it was easy to decorate and embroider designs onto the
outfit. As World War I created some difficult economic times for families, women who wore
elaborate clothes during this time sought to show off their wealth (Drowne, 101).
Traditional French Tambour beading, the method of this era, is done with a large wooden
rectangular frame which holds the material stretched out. Nails hold the fabric into place to
make it is easier to tambour bead. Other materials used to bead was a tambour hook, a fine
pointed needle with a hook at the end and being held in a holder, fabric tape, as well as thread
and beads (Jarratt, 43). By using matching thread colour to the colour of the beads, the thread is
secured to the fabric leaving the tail of the thread on the underside of the frame. The needle is
plunged from the top of the fabric through to the bottom, where the bead slides onto the tambour
hook. The thread is then wrapped around the needle tip, getting caught in the hook at the tip of
the needle. Turning the needle in the same direction that the thread was wrapped, this will lock
the bead into place. Finally, by carefully pulling the tambour needle up, and without catching
the hook tip on the fine fabric, it completes the chain stitch (Haven).

Annotated Bibliography
Survey Text
Laver, James. The concise history of costume and fashion. New York: H.N. Abrams, 1969.
Print.
This text reviewed costume and fashion in history from Ancient Greece and Rome to
around 1940. It covered everything from mens and womens dress and accessories, to how
culture and fashion influenced the other, to the styling of hair and also the concept of the ideal
body. This reference explored the culture and the lives of the people in the 1920s, focusing
particularly on women and the dramatic revolution in their attitudes and behaviour. It described
the makeover of female attributes from classy and lavish to scandalous and unbecoming and how
this adaptation was against traditional social norms. It not only discussed actions that were taken
to deter women from dressing and behaving in such shameful ways, but contained possible
reasons as to why such change began in the first place. This source was significant to my
research because it gave a baseline of the traditional norms, values and appearance in the 1920s
and presented a timeline with explanations as to the transformation which occurred and included
how they progressed from one time to another.
Source on Historical Technique or Construction
Jarratt, Maisie. How to bead: French embroidery beading. Kenthurst: Kangaroo Press, 1991.
Print.
This source explored and explained the process behind French couture tambour beading.
It itemized the tools needed to tambour bead and the steps required to complete an embroidered
pattern. It discussed that a French frame has many different components and the process of
fastening the fabric into place. It also explained the tambour hook, which is a needle with a hook
at the tip held in a holder, most commonly is made with a wooden handle. Its discussion
included the method on how to attach and secure the beads onto the secured fabric. The reason
that this text was so beneficial was the detailed explanation for the application portion of this
assignment as it provided background to each of the components of the frame and how they
functioned. Furthermore, it provided the technique used for this headpiece as similar to the
technique that was used in the 1920s.
Topical Academic Books
Drowne, Kathleen, Huber, Patrick. The 1920s. Westport: Greenwood Press, 2004. Print.
This text explored culture and life in the 1920s with a specific focus on womens dress,
roles in social life, hairstyles, and cosmetics. Moreover, it reviewed youth culture during this
decade and how the influence of media (i.e. movies, radio and television) shaped their views on
taboo subjects. This was also the time that youth were targeted for consumerism resulting in a
shift in advertisements geared towards youth. This writing was useful in providing background
not only of females in the 1920s but also on the youth culture that kept challenging authority. It

also was valuable in explaining how, through Hollywood entertainment, the flapper became such
a large part of life.
Robinson, Thomas. D Ruff, Lanette. Out of the mouths of babes: girl evangelists in the flapper
era. Oxford University Press, 2012. Print.
This text explored the relationship that flappers had with social and religious
communities. It also discussed the difference with another type of female popular during this
decade, however rarely researched or discussed, the Evangelist. The author examined the
difference between these two types and how much tension was festering among them. The
Evangelist preachers would proclaim and spread propaganda about flappers and their sins. This
piece further explained the specific attributes that defined a flapper, mainly their dress.
Unfortunately many female evangelists were mistaken for a flapper because of their hairstyles,
and it ruined their chances for preaching sermons. This writing was useful for analyzing reasons
why so there was so much negative talk about the flapper association, as it showed a large
society of evangelists pushed the flappers into a negative spotlight.
Academic Journal Periodical Article or Essay
Doan, Laura. Passing Fashions: Reading Female Masculinities in the 1920s. Feminist
Studies 24.3 (1998): 663700. Web.
This scholarly article is from a journal of the Feminist Studies. This source helped
explain why it was such a large phenomenon for women to change their styles and conduct. It
discussed the rebellious attitudes of women with their smoking, getting short haircuts, and
participating in tomboyish activities as unwanted change in American society. It reviewed and
explained how cross-dressing was a major controversy of the time and believed by some that any
women who dressed or acted in this manner did so because they were lesbians. This
commentary shed light on why conservative Americans may have thought so unfavorably of this
type of women and their belief that all females who wore unfeminine garments or behaved in
unruly or boisterous ways were lesbian, when in fact they were not.
Historically Accurate Costumers
Haven, Robert. Brief history of tambour beading and embroidery. Brief history of tambour
beading and embroidery. Web. 30 Sept 2015.
http://roberthaven.macmate.me/Tambour_Beading_and_Couture_Embroidery/Tambour_
History.html
This historically accurate costumers website gave background on how French tambour
beading began. The author explained that the earliest recorded evidence of embroidery and
beading was written in 1770, verifying that initially this beading and stitching technique
originated in India and brought to Europe sometime in 1759. The author explained how he
recreated this timeless tradition on a stiff rigid frame which holds the fabric as he used the
tambour hook to create chain stitches and attach beads. He referred to the 1920s as the golden
age of beaded couture. As a theatrical costumer, Robert Haven recreates and creates his own

masterpieces by French beading, as well as teaching students in workshops how to use this
ageless method. His website was quite valuable for my research to recreate a beaded headpiece.
Not only did it give a history and contextual background on where beading begun but it showed
images of him working on samples as well as his finished product. Furthermore, his step by step
demonstration video on how to properly bead was significant in helping me understand how to
properly create a chain stitch and add beads and to create my own masterpiece.
Bonus Source
"Get the 1920s Flapper Look." V Is for Vintage. Mar. 2013. Web. 10 Oct. 2015.
http://visforvintage.net/2012/07/19/get-the-1920s-flapper-look/.
This source showed different aspects of a flapper girls wardrobe and look. It explained
the accessories women would generally wear during this time and what a flapper would wear in
comparison. The gloves, hairstyles, makeup, shoes, hats and headbands each had brief
descriptions. This resource was effective in my research as it directed me to review types of
beading during this decade, and typical motifs. Furthermore, it explained the type of makeup that
was used, which allowed me to recreate it on a Styrofoam head for a better presentation.

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Creating a Tambour Beaded Flapper Girl Head Piece

Inspiration

Vicoriana Magazine (Images

to the left, right and top)

Below and right: NYC in the 1920s

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Creating a Tambour Beaded Flapper Girl Head Piece

Inspiration

Above: 2014.07.326 (Beading detail)

Bottom two images: 2014.07.507 (Beading detail)

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Creating a Tambour Beaded Flapper Girl Head Piece

First Sketches

Top Image: A preliminary sketch of

the headpiece on a styrofoam head.
Included in the sketch is a beaded
headband (left) and the head
wearing the piece with feathers and
a floral center piece.

Bottom Image: This was the first idea for

the floral piece. It was colour-coated so
that at a glance, I would be able to tell
which beads to use when tamobur
beading it. However, it was a first sketch,
and ideas and processes change, so the
final piece does not look like this.

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Creating a Tambour Beaded Flapper Girl Head Piece

Supplies and Set Up

Drawing the shapes of what is going to be beaded

Tambour Hook

Using an embroidery circle to hold the fabric

Close up of tambour hook

Tip of needle
is where the
hook is

Beadings and Sequins

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Creating a Tambour Beaded Flapper Girl Head Piece

Process Work
There are different sizes of tambour needles (#70-#120). However, I used a #90, as referred to me by
an active beader. In general the frame used is large and allows for pieces as big as skirts to be
embroidered. Since my project item, a traditional hand beaded headpiece, was much smaller and I
had access to a circular embroidery frame, this is what was used to keep the material taut. It still
worked well, as it stretched the fabric out sufficiently for beading.

1
Hook of needle
on the same
side of the screw
holding in the
needle.

Using a spool of thread that matches in colour of the bead, set a thread
at the beginning of stitching to create a strong base or anchor so the
thread does not slip while you begin beading. Once a base is created,
working in a downwards motion push the needle through the fabric.

Thread is anchored to fabric

Thread anchored to
the fabric with the
thread coming out
of the bottom of
the frame.

Thread is below the

fabric. Ready to start.

Place the bead onto the needle, then wrap the thread around the
needle, catching it in the hook at the tip of the needle. Then
wrap the thread around the needle in a counter-clockwise
direction.

Wrapping
the thread
around the
tambour
hook counter
clockwise
after the bead
has been put on
the needle.

15

After twisting
the tambour
hook, the
needle is
pulled back
up through the
fabric.

Then twisting the needle in the same direction and pull it back up
through the fabric to complete the stitch.

Twisting the needle

in the same direction
(counter-clockwise)
which will lock the
thread around the
bead.

Keep on repeating these steps until the design has been

completed.

Thread is being pulled up,

locking the bead in place.

A sequence of sequins

One thing I learned is when you pull the needle back up through the fabric to finish the stitch you
have to pull it on an angle so the hook at the tip of the needle does not get caught in the lightweight fabric and snags it. Another discovery was that I was able to use the chain stitch while
using seed beads and sequins, but when it came to the bugle beads, this type of stitch did not allow
the beads to lay flat. Therefore I decided to use a regular stitch to hold the bugle beads in place.
The bugle beads are on the head band, and the sequins and seed beads are on the flower, petal, and
top strap.

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Creating a Tambour Beaded Flapper Girl Head Piece

Putting the Headpiece Together

The final beaded items. Includes a flower piece,

headband, topband with a beaded stem, and a
leaf.

Left Image: Once the

headband was finished
being beaded, I had to
measure it on the head
size of the styrofoam
head for a tight fit.
Right Image: Same as
fitting the headband, I
had to measure the
topband to make sure it
would was long enough
to reach across and hold
up the headband.

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Creating a Tambour Beaded Flapper Girl Head Piece

Putting the Headpiece Together

Hand sewing the flower and toppiece to the headband and then sewing then hand
sewing the leaf to the top piece.

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Creating a Tambour Beaded Flapper Girl Head Piece

Finished Product!

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References
Doan, Laura. Passing Fashions: Reading Female Masculinities in the 1920s. Feminist
Studies 24.3 (1998): 663700. Web.
Drowne, Kathleen, Huber, Patrick. The 1920s. Westport: Greenwood Press, 2004. Print
Gift of Cleaver-Suddon Collection. Black net satin sleeveless dress with black beads. Fashion
Research Collection 2014.07.507. (1920). Photo taken by Amanda Odorico.
Gift of Cleaver-Suddon Collection. Peacock blue sleeveless chiffon dress with handmade
French Label. Fashion Research Collection 2014.07.326. (1920). Photo taken by
Amanda Odorico.
Haven, Robert. Brief history of tambour beading and embroidery. Brief history of tambour
beading and embroidery. Web. 30 Sept 2015.
http://roberthaven.macmate.me/Tambour_Beading_and_Couture_Embroidery/Tambour_
History.html
Jarrat, Maisie. How to bead: French embroidery beading. Kenthurst: Kangaroo Press, 1991.
Print.
Laver, James. The concise history of costume and fashion. New York: H.N. Abrams, 1969.
Print.
Mida, Ingrid. Personal interview. 15 September 2015.
NYC in the 1920s. Annes Word. Speak Easy Anne.
http://speakeasyanne.tumblr.com/post/103148396413. N.d. Online.
Robinson, Thomas. D Ruff, Lanette. Out of the mouths of babes: girl evangelsits in the flapper
era. Oxford University Press, 2012. Print.

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V is for Vintage. "Get the 1920s Flapper Look." V Is for Vintage. Mar. 2013. Web. 10 Oct. 2015.
http://visforvintage.net/2012/07/19/get-the-1920s-flapper-look/.
Victoriana Magazine. 1920s Fashion-Flapper Dress. Victoriana Magazine.
http://www.victoriana.com/Fashion/1920s/flapper.htm. 1996-2015. Online.

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