dress

At the dawn of the 1920s, the world was still reeling from the First World War. The conflict, which ended just over a year before the new decade began, had a fundamental and irreversible effect on society, culture, and fashion. Essential to these new styles was a simplicity that had not previously been seen in women’s fashion. Dress historian Jayne Shrimpton writes in Fashion in the 1920s: “The development of a more convenient, modern female wardrobe was a major trend of the 1920s and was achieved through the progressive simplification of dress as the decade advanced – a rejection of formality and multiple layers, in favor of comfort and a lighter, more natural effect.” This simplicity created the popular tubular “la garçonne” look that dominated much of the decade. Also known as the flapper, the look typified 1920s dress with a dropped waist and creeping hemlines that could be created in economical fabrics. Coco Chanel helped popularize this style (Fig. 1) and was a prominent designer during the period. Both waistlines and hemlines followed similar, though inverse, projections throughout the decade, as waistlines dropped until 1923 before beginning to rise again in 1928; while hemlines rose until 1926 when they started to fall again. Source: fashionhistory.fitnyc.edu/1920-1929/#:~:text=Also%20known....

A version of this photo appears in the September 18 New Britain Herald with the caption

Olga Petrova. actress, is back In New York after a trip abroad. She brought with her a pet monkey, little dreaming that any photographers would want to take its picture

This is why you can't trust the press: it's not a monkey, it's a ring tailed lemur. Beyond that, Olga Petrova was the stage name of British/American actress/writer Muriel Harding (1884-1977)

Thanks for the newspaper link Seuss., I'll be sure we add a note about the lemur.

Moncrieff made highly successful gramophone recordings in Australia for the Columbia Graphophone Co. between 12 October 1928 and 4 June 1935. She was a regular visitor to the company studios at Homebush, Sydney, making eighty-four titles that were released on either Regal, Regal-Zonophone or Columbia labels as ten-inch discs. These well-known musical comedy favorites sold far better than similar material by many famous overseas artists. Most of these recordings were reissued by EMI Records Australia and enjoyed healthy sales. Gladys Moncrieff had a powerful, wide-ranging, rich soprano voice, and excellent diction. Undemonstrative in behavior, she approached her singing like a craft, meticulously and unostentatiously. She dressed simply and did not shun menial tasks. Her large, informal parties were memorable for her superb cooking, especially for her pie with seventy dozen oysters. Perhaps it was also her sense of fun and tender-heartedness that attracted her large following of 'gallery girls', women who queued for standing room and followed her movements with flowers and mail. She became a legend in Australia in her lifetime, respected by her professional colleagues, and loved by her devoted public. Her autobiography, My Life of Song (Adelaide, 1971), was ghosted by Lillian Palmer. Source: adb.anu.edu.au/biography/moncrieff-gladys-lillian-7621