Reedsburg Area Women's Club
Vintage Fashion Show
April 21, 2007

The following pictures represent fashions from 1928 through 1931. The show was held as a fund raiser for the women's club and shared here for all to see the completed ensembles. 
The hairstyles were courtesy of Reedsburg Cost Cutters. The hairstyles were copied from fashion magazines from 1928 through 1931.





Theresa is wearing a 1928 Tangerine Silk All-over beaded evening gown. Round neckline, sleeveless garment with side snap closure and dropped waistline. Saw toothed hemline is slightly longer in back than the front. The beading with crystals and rhinestones shows a repeating pattern of a sunburst motif. The garment is fully lined in silk. This is an excellent example of the designers working to lower the hemlines. Irregular hemlines were the norm during this period. Her hairstyle is right in keeping with the time. Accessories are not needed for this town with it's own eye catching beaded features. Crystal drop earrings,  a lovely beaded tangerine silk purse, elbow length peachy color gloves with original silver lame' slippers are all that is needed to complete this ensemble.






Melissa has donned a 1928 Purple Velvet sleeveless gown enhanced by a crepe vest like top with all-over beading that reaches past the dropped waist. Two more panels of beaded crepe are added at the hemline, with the lower panel ending in an uneven saw tooth effect. Her hairstyle is of the era. Accessories include gold filigree necklace adorned with pink crystals along with earrings of pink to match the pink beading in the multicolor beaded dress. She carries white opera length kid gloves and a purse that is beaded similar to the dress. The purple leather shoes had a beaded color to complete this lovely ensemble.







Hannah shows a 1928 Green silk crepe. Rhinestones surround the round neckline and sleeve area as well as adorning the top. Clusters of the jewels are also seen above and below the dropped waist of this side snap closure garment. The skirt is bias cut with an uneven hemline that floats and flares in a very sassy manner. Her hair is styled in a 1928 evening style. The accessories were chosen to match the stones decorating the gown as seen in the little rhinestone balls of the wrap-around necklace and drop earrings. Rhinestones are seen again picked up in the jeweled bag. Opera length green silk-chiffon gloves are worn. Her shoes are T-strap silver lame'.





Emily is attired in a 1928 soft Green silk chiffon pull-over the head style. The sleeveless round neck garment shows intricate beading on the entire front and back of the princess line bodice running down into the skirt by insert panels and ending at the hemline in triangular shape endings. Her hair is done in a 1928 formal evening style. Deep green is used for accent as seen in her choker necklace and earrings. Her purse with its all-over crystal beaded fringe is as lively as the gown. An ostrich feathered boa is decorated with rhinestone ends that lend a snazzy air to her attire. Light gray silk gloves are worn as well as silver brocade strapped evening shoes to finish this gown to completion.






Marcia looks so lovely in a wedding gown of Ivory Satin. Round neckline on a straight bodice to below waist marks this as a 1928 model. Shirring divides the top from the skirt in this sleeveless gown, which has an overlay tier ending with an added ruffle. The shirring meets in the middle of the skirt with a fabric flower. The gown in slightly longer in the back to give the illusion of a train. Her hair is styled for the era and she wears an original veil of net decorated with braided thread, the top has two satin bows on either side. Her jewelry consists of a crystal necklace and earrings and she carries white silk gloves. She also has a white fur caplet for warmth.







Kim wears a delicate 1929 Ecru Lace gown. It is a pullover the head style gown with a fitted bodice that has  peplum like panels that give a fitted look above while adding fullness to the skirt below. Uneven hemline makes this garment flow whether walking or dancing. Her hair style in done in a formal evening mode. A tiered crystal and gold ball necklace with drop earrings are seen. She is wearing white silk gloves and carries a white beaded bag, a white fox stole is added  to finish her ensemble.







Charise appears in a 1929 Rose print Chiffon gown that shows the Spanish influence in design at this time. V-neck, sleeveless, slips over the head style. Tiny decorative stitching adorns the front top arm area. A gathered lower bodice and upper skirt seen both front and back. The skirt is added to the lower waist panel to fall and flare in an uneven line that is lower in the back. her hair is styled in a braided chignon. Red and clear crystal necklace and earrings add to this lovely gown, white beaded purse and white cotton gloves complete the outfit.







Marcie is wearing a 1929 Green silk crepe. Beaded accents adorn the round neckline and armhole. The bias cut gown has a fitted bodice, side snap closure. Panels were added to the skirt for flare. Beading reaches around to the back ending in unique cutout designs. The skirt has a lower in back hemline giving it a hit of a train. Her hair is styled for a very formal evening. Crystal earrings and necklace were chosen to adorn this gown and a beaded drawstring bag with a sprightly tassel end is carried. Gray silk gloves and  white T-strap shoes are worn.







Jamie is looking fantastic in the 1929 Fuchia silk and chiffon slip over the head party gown. Perfect for a summer evening, its lightweight bodice is made up of small triangular pieces of silk and chiffon to give it a close fit. The skirt is of all chiffon which makes it float about with or without a breeze. Her hair has finger waves on the sides while the rest if pulled back and captured into a chignon held with a pearl holder. Delicate accessories were chosen to go with this delicate gown as seen in the pearl drop necklace, the multi-pearl drop earrings and pearls are carried over to be seen in the purse along with rhinestones. White cotton  gloves are worn as well as Silver lame' dancing slippers.








Suzanne is wearing a princess line 1929 Black Velvet frock. The ever popular V-neck is seen with a slightly deeper V in the back that reaches down to end in an added self-fabric bow lined in pink silk. The back is slightly longer than the front and shows the illusion of being lined with the same pink silk as the bow. Her hair style is done in a formal evening mode. Her accessories include matching gold filigree necklace and earrings festooned with tiny crystal beads. Black silk gloves, black velvet purse with shoes in black suede with strap closure complete this lovely outfit. She carries a black velvet and gold lame' print fringed shawl.





Theresa displays a 1928 Rose of Sharon Satin frock with dropped waist. Fringe surrounds the skirt as well as a cape in back making this sleeveless garment a true Roaring  Twenties flapper attire. Not much more is needed in the description of this gown as it fairly speaks for itself. It does have its own attached slip of silk. Formal hairstyle in finger waves and chignon. Pearls were ever so popular during this time period as well as any time period for that matter. The rope necklace being perfect for the flapper and multi drop pearl earrings as well. The purse that she carries is also decorated with pearls and other beading to being this ensemble all together.  Silver lame' evening slippers finish this totally flapper outfit.





Jan is wearing a 1931 gown that has a Black Slipper Velvet top which is as soft as it looks. It has a high, slightly draped cowl neckline with capped sleeves that reach around to show a deep open back that ends with the same fabric bow making sure she looks good coming and going. The bodice is made up with inset panels to give it a fitted look. The  gathered skirt contains yards and yards of pink silk chiffon with an irregular hemline. There is also an attached pink silk slip underneath that flares as much as the skirt. Her hairstyle is in a formal evening mode. Multi crystal drop necklace with crystal drop earrings are worn and crystal beads decorate the chain on her black velvet evening bag to bring it all together. Satin gloves with a hint of pink are worn as are black suede T-strap shoes to finish this lovely gown.





Lisa is wearing a 1931 Satin Evening Gown. This is actually a three-piece ensemble, includes a jacket and belt. The jacket she carries shows interesting spiral circles of the same satin fabric enhancing the round neckline and cut sleeves, a self-fabric belt breaks the line of the peplum jacket that has small fabric button closure in back. The gown of the same satin is bias cut which gives an elegant flare to it. The top of the gown is done with a raised waist with two straps over the shoulder that run to a deep V in back. Her hair is styled in formal evening and is adorned with a jeweled comb. Large prism crystal set in silver earrings highlight this gown as does the white jeweled evening bag that she carries that shows a bit of the gown color in its construction. Suede gloves are also carried and her evening slippers are of ecru silk with crisscross strap closure. This ensemble is referred to as a restaurant gown, first worn with the jacket then removed later in the evening for dancing.







Hannah is wearing  1931 Purple Silk taffeta which is very age appropriate for this lovely young lady. The ruffle around the top is also used to cover the arms, reaches around the back to frame the lower cut back. Side snap closure. Cut panels give fit above while the skirt flares below. Additional gathered  panels are added on each side to give even more flare to this lovely dancing gown. The hair style done in a very formal mode is finished with a comb. Her jewelry also done with purple as show in the stone accents seen in the pendant and earrings. A drawstring bag of multi-color beading is carried for fun and show.






Emily is wearing a 1930 Blue print chiffon gown that could also be referred to as a restaurant gown. This type of ensemble could be worn to a formal dinner or theatre then the jacket removed for dancing later on in the evening. The jacket has a rolled collar with an unusual sleeve treatment shown in the sleeve panels. The jacket closes with wrap-around ties that are part of the jacket itself. The ties wrap around to be tied into a bow in the back. The gown is a pull over the head sleeveless style and shows a slightly gathered bodice at the end of the V neckline. Yards and yards make up the floaty skirt below that end in scallop cuts. Her hair is done in a formal evening style. Set in silver pendant and earrings all with blue stones are worn to enhance this lovely gown. A bright blue beaded evening purse adds to the ensemble. Long gray silk gloves cover her arms and silver brocade evening slippers that close with a multi-strap finishes the ensemble.





Kris is seen in a 1931 Black Lace gown  that has a matching sleeveless bolero. The puffy gathered sleeves of the dress poke through the bolero for a cover look. The fitted top fall to a full skirt made so by the addition of panels. The upper back of the gown shows a deeper V cut. The gown also has its own attached black silk slip. Her hair style adorned with a jeweled comb is done in the formal evening mode with masses of curls made into a chignon. Gold tiered necklace with matching earrings enhance as well as highlight the gown. A back strap evening purse is seen and has a jeweled closure that matches the jeweled ornament on her evening hat of black velvet. Black silk gloves and black silk evening slippers adorned with sequins are worn for a coordinated finished look.





Melissa is wearing a 1930 Mint green satin gown. V-neck in front with the shoulder straps reaching around to show an open back that ends with a large satin and velvet flower at the waist. Intricate panels are sewn together on the bias to form the fit from the bodice which is fitted down to the flaring skirt below. Her hairstyle done in a formal evening mode. The Egyptian influence is seen in the gold necklace that is festooned with lantern shaped green stone drops. Chandelier style earrings also show green stones. A mesh evening bag of green and gold is carry our the color scheme for this ensemble as well as the mint green satin evening slippers. Opera length kid gloves are carried.








Theresa shows us a 1931 Off-white silk crepe with side snap closure. Decorative rhinestones in a strap-like design enhance the bodice while more rhinestones are scattered over the rest of the gown. The lower cut back adds an attractive view while walking away. Using the jewels on the gown as a standard, we finished the ensemble by adding a lovely rhinestone heart with a drop necklace, filigree flower earrings with rhinestone accents rhinestone bracelet and a mesh rhinestone studded evening bag. Her formal evening hairstyle shows a decorative rhinestone clip. White kid gloves and silver lame' pumps finish this shining ensemble.






Kim shows a 1930 Green print with gold  lame' threads evening/restaurant gown. The jacket has a slightly rolled collar, floaty cut sleeves to enhance the jacket whose sides end in a belt that ties around the waist to end in back in a bow. Beneath the jacket is a gown that is V-neck pull over style with slender shoulder straps. Panels are added to the diagonal cut garment to add fit and flare. It has its own attached gold silk slip. Her formal hairstyle is held with a jeweled comb. A stunning necklace and earrings with green stones as well as a large green stone in her bracelet adorn the gown. A drawstring back that picks up the colors of the gown and brown silk gloves and a brown velvet evening hat complete the ensemble.






Charise wears a black net shawl that has tiny beading running across the top and bottom to tasseled ends over this lovely 1930 Black lace evening gown. This gown of lace shows the Spanish influence so popular at that time. V-neck, sleeveless with a slightly fitted bodice. Panels are added in the skirt to give it yards of flare. The bottom ends in irregular triangle cuts. The gown has its own attached silk slip. Her hair style in formal mode is adorned with a jeweled clip. Red beaded tasseled necklace and red stones in her earrings chosen to give a splash of color. Her purse is a silver and gray Whiting Davis evening bag.







Marcie is wearing a 1930 flowered print net gown. Worn with a matching cape that ties in front. The edging on the cape  is in purple silk found on the ruffles and hem in  the gown. The sleeveless gown has a round neckline, side snap closure that ensures a fitted bodice with flare added by two tiers of ruffles and yards of material added in the skirt falling below. An additional net slip alont with its own self-silk slip makes this a smartly finished gown. Her formal evening hairstyle is decorated with an ornate hair comb. Crystal drop necklace and earrings are the accessories along with a white beaded bag, crochet gloves are worn and white T-strap shoes. This gown would be appropriate for a formal garden party and might be worn with a large brimmed hat.






Suzanne is wearing a 1929  Golden satin gown. Simplicity in design and beauty, enhanced by the figure of the wearer. Round neckline, sleeveless with a slightly dropped waist. The very flared skirt dips to show a slight train in back, side snap closure. Two rhinestone bows adorn the cut out back. This gown may have been a wedding gown. Her hairstyle done in the formal evening mode. Rhinestones were chosen to match the bows on the gown as seen in the pendant, earrings, bracelet and the all-over rhinestone evening bag.  Off-white silk gloves are worn. Her shoes are of gold lame' for the most part, the toes of the pumps are stripes of silver lame' and gold ribbon.






Karsten is wearing a late 1931 Purple crepe gown with rounded rhinestone collar decoration that drops down in the back in a single strap in the center back. Intricate cut outs in the front add more interest to the top as does the unusual arm hole  treatment. Bias cut for a fitted top while adding flare to the bottom. Her hair style in a formal mode adorned with a rhinestone comb. Modernistic square earrings are the only jeweled accents chosen for this already adorned gown. The evening bag is a knit and jeweled style with chain handle. Silk gloves in gown color are also worn to make the ensemble complete.







Kathleen is wearing 1931 Orange crepe evening gown with an unusual sleeve treatment. Decorative beadwork borders the round neckline and runs around to adorn the cut out back. The top is fitted to an inset panel for a defined waist area. The lower bias cut skirt has additional panels that flare out when walking or dancing. Her hairstyle done in a formal evening mode is held by a colorful comb which picks up the gowns color. Simplicity in her jewelry is seen in the pendant and drop earrings. The shape and design of the gowns decorative beading is seen in the fringe beaded bag she carries. White kids gloves are also carried. Her black suede pumps were chosen for her footwear.







Lisa wears a black velvet caped jacket over a 1931 White Satin gown. The gown has a slightly fitted bodice that falls loosely to the braided self-fabric belt below. The gown is also held by braided straps that run around into the back to show off the deep open cut. Bias cut panels are added to the skirt to give freedom of movement while walking or dancing. Her hair is done in a formal evening mode, held by a jeweled comb. The back and white theme was continued to be used in her jewelry as seen in the black and white tiered necklace and black earrings. A mesh evening bag is carried along with kid gloves. Satin slippers with crisscross straps make this outfit complete.





Jamie is wearing a 1931 Pink crepe gown.  Matching all over crystal beaded jacket has a top button closure and more buttons at the waist. This gown may be very appropriate for formal dinner or theatre or may have been a mother of the bride gown. The jacket may be removed later for dancing. The slip over the head gown is sleeveless with a V-neck in front with an insert v shaped piece that is slightly gathered in the bodice for a fitted look while the bias cut skirt flares. There is a deeper back V while the skirt falls into a train like effect. Pink crystal jewelry is seen in the necklace and earrings and are enough to accessorize this sparkling gown. The beaded bag she holds also shows pink beading and the gloves are a blush pink to continue carry off the color theme. Ankle strap silver lame' slippers are worn.






Marcia is wearing a 1931 Orange silk taffeta gown with brown accents making this a lovely gown for any formal occasion. Tiny self-fabric shoulder straps are enhanced by the all around brown frill. Ruching in the bodice both front and back give the top of the gown a slightly fitted look to the side snap closure gown. The skirt has inset panels that add yards of material to twirl the night away. The skirt has two brown stripes for added interest. Her hair style in done in a formal mode held with matching combs. Amber is chosen to highlight this gown as seen in the pendant, drop earrings and bracelet. Brown gloves pick up the brown in the gown as does the brown back strap purse with a Marcasite frame and closure. Add to that the brown fox fur to make it a lovely outfit for a lovely lady.





Melissa is wearing a 1930 Blue Crepe Chiffon. A sleeveless pull over the head style. The bodice is slightly gathered to an inset panel narrow at the top then widens as it reaches all the way into the skirt of the gown. V-neck line in front with shoulder treatment going into wide straps in the back to show off a deeper open cut. Her hair is styled in a formal evening mode. Her accessories include a delicate gold flower motif necklace with crystal droplets that are also seen in the earrings. Silver lame' evening slippers are also worn.





Jan is wearing formal at home wear, very likely 1932 or 1933. It is hard to tell as it was definitely home sewn. The construction could even be 1931 as this type of garment was just coming in then. Rusty red slipper velvet is so soft to the touch. The top is a crossover style with a panel underneath snapped together across the bottom at the waistline. A Bakelite button closes the top. The sleeves are modified Bishop style, with the wider top to close fitted from the elbow to the wrist. The waist panel closes with a tie above a very small metal zipper in the pant side. Wide wide legged pants finish the look. Very little accessories are needed as it is at home wear so Buddha drop earrings are worn for added interest.




Theresa models a 1928 White Satin Wedding gown that almost defies description. All around beaded neckline, long close fitted sleeves, pull over the head style. A simple bodice to just above the dropped waist where decorative bead work is seen again in the over skirt as it picks up a large flower design using pearls and rhinestones falling down in a multiple leaf like figures almost to the hemline. Tiny beads run around the dropped waist of the top tier meeting in back at a large gathered satin bow from which the long train extends out. the train is one long panel with the border matching the gowns pearls and the end if again decorated in the leaf motif with pearls and rhinestones. A pearl necklace that ends in a tassel and drop pearl earrings are a lovely compliment to the gown. Silver lame' slippers on her feet. The veil was constructed using a  tablecloth from 1928 with the addition of white silk flowers to frame her head and white silk roses to make up the bouquet.



Return to Fashions 1928 Through 1931