Unusual Artifacts: A Pair of Red Oxford Shoes, 1925

Oxford Shoes
Coxton Shoe Co., Ltd., 1925
Shown at the London International Shoe Fair
The Victoria & Albert Museum

In the 1920’s, the footwear fashion for men was to wear “Oxford” lace-up shoes—essentially a “closed tab shoe.” They were so-called because the eyelet tabs (these are the sections of leather with holes for the laces) were stitched under the front section of the shoe (known as the vamp) as opposed to be stitched on top.

Oxfords, typically, were black or brown leather, intended for everyday wear. At the time, especially in Britain, men of taste followed strict rules of “appropriate” dress. Brown shoes worn with a dinner suit were considered inappropriate. And, any display of vivid color footwear was thought to be vulgar.

And, then, there are these shoes of bright red leather adorned with gold swirls. Clearly, these were not made for actual wear. No, these shoes were made to be displayed in order to showcase the maker’s skills. They were displayed at the London International Shoe Fair in 1925. Joining them were a black and gold pair and a thoroughly blinding, marbled blue leather creation.

Made by the Coxton Shoe Co., Ltd. of Rushden (Northamptonshire), England, the shoes were made specifically to catch the eye of American buyers. While a British man would never have dared to wear bright red shoes, American men had more freedom. Though this particular pair would have seemed vulgar, even my American standards, the workmanship demonstrated that the Coxton concern was able to produce more exciting designs than other makers. and may have been aimed at the American market which was open to more exotic designs.

The shoes feature gold leather decoration, a rounded-pointed toe, six eyelets, and gold laces. Red stitching on gold decorative strips gives interest to the backstrap, toe-cap, facing, vamp and quarters. They boast a stacked heel and a brown leather sole with a scrolling pattern along the edges and a green stripe between two red wheeled stripes. 

The Home Beautiful: A Vintage Biscuit Tin, c. 1920

Biscuit Tin Bank
England, 1920s
The Victoria & Albert Museum

This biscuit tin from the early 19th Century was made for the Christmas season. After the First World War, the typical English biscuit tin—a convention which arose in 1861—had become more reserved than the Nineteenth Century, opulent, printed tin models. The exception to this was the Christmas Season when fanciful and clever designs were produced for biscuit companies wishing to appeal to children and their parents. 

These tins were made to be saved, and, often, they’d offer a feature which gave them extended use. This one, for example, was made to serve as a money box or bank after the cookies had all been eaten. It is decorated with printed scenes from “Alice in Wonderland” as well as depictions of Nursery Rhyme characters. The coin slot at the top could be punched out when the biscuits were all gone.

Mr. Punch in the Arts: The Puppet Suite, 1927

The Billy Mayerl Society

Written by the famed pianist Billy Mayerl, “The Puppets Suite” was published in 1927 and consists of three movements which encapsulate the joyful spirit of a “Punch and Judy” show.

The first movement is called “Golliwog.” The term is out-of-favor today and is generally thought to be a derisive term, however, for decades it simply referred to an African man. Such a character appears in the Punch and Judy tradition in the form of “Jim Crow” who acted as a footman to Mr. Punch.

The second movement is entitled “Judy.” This bluesy section reflect Judy’s position as Punch’s put-upon wide.

And, finally, there’s “Punch.” This section is considered a “masterpiece of brio.” A complicated piece, it is only successfully played when approached with the right speed and attack. This recording allows us to hear the Suite as it should be played—by Billy Mayerl himself.

History's Runway: The Helford Dinner Suit, 1928-1929

Dinner Suit
England, 1928-1929
The Victoria & Albert Museum

A fashionable gent of the late 1920s would have certainly had in his wardrobe two different types of evening outfits. One, a dinner suit, would have been worn to less formal parties, evenings at the theatre and concerts. Meanwhile, his white waistcoat and tails were reserved for formal evening dress—perfect for dances, public dinners, and state assemblies. This distinction was understood and taken seriously. It wasn’t unusual for a stylish West End hotel to refuse admission to a dance should a man appear in a dinner jacket and not his tails. 

Here’s an example of a handsome dinner suit of black wool made between 1928 and 1929. The suit consists of a jacket, trousers and a waistcoat. The maker is unknown.

Object of the Day, Museum Edition: A Cigarette Holder, c. 1925

Cigarette Holder
French, c. 1925
The Victoria & Albert Museum

By the late 1920s to early 1930s, to see a woman smoking in public was considered socially acceptable. The twenty years following the First World War (1914-1918) saw a social revolution wherein the accepted roles of women were changing. During the Great War, women had been drafted into the workforce to cover for the many men who were away at the front. Once the war was over, women did not return to the more passive roles in which they had been cast previously and enjoyed increased political and social freedoms—smoking included. But, a proper lady would not smoke in the same way that a man did. It wasn’t ladylike to hold the stub of a cigarette between her fingers—especially since doing so would spoil her gloves. The cigarette holder soon became an important accessory for a progressive woman.


Here, we see an aluminum cigarette holder which was made about 1925 in France. This creation of the Jazz Age features a bright cut decoration which carved at an angle so that it catches the light and sparkles like the many diamonds a lady would be wearing at this time. The holder telescoped to an elegant length—allowing the cigarette smoke to waft away from a woman’s coiffure and face. When she was finished, the holder could retract to be stashed into a reticule or handbag.

Unusual Artifacts: A Pair of Red Oxford Shoes, 1925

Oxford Shoes
Coxton Shoe Co., Ltd., 1925
Shown at the London International Shoe Fair
The Victoria & Albert Museum

In the 1920’s, the footwear fashion for men was to wear “Oxford” lace-up shoes—essentially a “closed tab shoe.” They were so-called because the eyelet tabs (these are the sections of leather with holes for the laces) were stitched under the front section of the shoe (known as the vamp) as opposed to be stitched on top.

Oxfords, typically, were black or brown leather, intended for everyday wear. At the time, especially in Britain, men of taste followed strict rules of “appropriate” dress. Brown shoes worn with a dinner suit were considered inappropriate. And, any display of vivid color footwear was thought to be vulgar.

And, then, there are these shoes of bright red leather adorned with gold swirls. Clearly, these were not made for actual wear. No, these shoes were made to be displayed in order to showcase the maker’s skills. They were displayed at the London International Shoe Fair in 1925. Joining them were a black and gold pair and a thoroughly blinding, marbled blue leather creation.

Made by the Coxton Shoe Co., Ltd. of Rushden (Northamptonshire), England, the shoes were made specifically to catch the eye of American buyers. While a British man would never have dared to wear bright red shoes, American men had more freedom. Though this particular pair would have seemed vulgar, even my American standards, the workmanship demonstrated that the Coxton concern was able to produce more exciting designs than other makers. and may have been aimed at the American market which was open to more exotic designs.

The shoes feature gold leather decoration, a rounded-pointed toe, six eyelets, and gold laces. Red stitching on gold decorative strips gives interest to the backstrap, toe-cap, facing, vamp and quarters. They boast a stacked heel and a brown leather sole with a scrolling pattern along the edges and a green stripe between two red wheeled stripes. 

The Home Beautiful: A Vintage Biscuit Tin, c. 1920

Biscuit Tin Bank
England, 1920s
The Victoria & Albert Museum

This biscuit tin from the early 19th Century was made for the Christmas season. After the First World War, the typical English biscuit tin—a convention which arose in 1861—had become more reserved than the Nineteenth Century, opulent, printed tin models. The exception to this was the Christmas Season when fanciful and clever designs were produced for biscuit companies wishing to appeal to children and their parents. 

These tins were made to be saved, and, often, they’d offer a feature which gave them extended use. This one, for example, was made to serve as a money box or bank after the cookies had all been eaten. It is decorated with printed scenes from “Alice in Wonderland” as well as depictions of Nursery Rhyme characters. The coin slot at the top could be punched out when the biscuits were all gone.

Sunday Morning Special: A Dizzy Day, 1928

One of the first cartoons made by the Van Beuren Corporation, this…well…it’s the start of a decade of insanity.  You’ll see.

History's Runway: “La Fleur” Dress, 1922

"La Fleur"
Lilac Lawn Day Dress
Madeleine Vionnet, 1922
The Cecil Beaton Collection at:
The Victoria & Albert Museum

“Lawn,” a fabric with a fairly plain weave, in the 1920s was likely crafted of linen. These days, most lawn is made of cotton. Regardless, it’s a perfect fabric for a day dress—durable, light and fashionable.

Here, from 1922, we see a gown made of lilac lawn. With a V-neckline, short sleeves and it’s convenient ankle length, the dress would have been suitable for a day in the country or for attending a summer sporting event.

Belted at the waist, the dress is given a hint of springtime style by layered, overlapping scallops attached to a base of tulle. These petal-like scallops and the fresh color evoke an appealing idea of new flowers. This is reinforced by an appliqué motif on each petal which depicts a stylized flowering plant in a decorative pot.

The dress was made in Paris for the design house of Madeleine Vionnet (1876-1975). It was donated to London Society photographer Cecil Beaton to be part of the collection of modern clothing which he was assembling for the V&A in 1972. 

History's Runway: The Maud Steel Wedding Gown, 1927

Wedding Gown of Gold Velvet
Britain, 1927
This and all related images from:
The Victoria & Albert Museum

Made in 1927, this gold silk panne velvet wedding dress is embroidered with artificial pearls. It was made for and worn by Miss Maud Katharine Alicia Cecil for her marriage to Richard Greville Acton Steel on November 17 at the church of St. Margaret's Westminster in London.

The bride wore the gown with a veil which was held in place by a heavy wreath of orange blossoms, anchored around the brow. The gown’s long court train was carried by a page and a bridesmaid. The bride felt that the gown’s neckline was too low, and so, in order to cover her décolletage and soften the gown’s bodice, she wore a camisole with scalloped lace edging beneath the gown.

Gold, silver and shell pink were the most popular colors for 1926 and 1927 weddings with velvet leading the choices of textiles. The late 20s saw an increase in shorter, more revealing wedding gowns, however, Miss Cecil has taken a more traditional and modest route with her choice. 

Mr. Punch in the Arts: The Puppet Suite, 1927

The Billy Mayerl Society

Written by the famed pianist Billy Mayerl, “The Puppets Suite” was published in 1927 and consists of three movements which encapsulate the joyful spirit of a “Punch and Judy” show.

The first movement is called “Golliwog.” The term is out-of-favor today and is generally thought to be a derisive term, however, for decades it simply referred to an African man. Such a character appears in the Punch and Judy tradition in the form of “Jim Crow” who acted as a footman to Mr. Punch.

The second movement is entitled “Judy.” This bluesy section reflect Judy’s position as Punch’s put-upon wide.

And, finally, there’s “Punch.” This section is considered a “masterpiece of brio.” A complicated piece, it is only successfully played when approached with the right speed and attack. This recording allows us to hear the Suite as it should be played—by Billy Mayerl himself.

History's Runway: A Pair of Red Oxford Shoes, 1925

Oxford Shoes
Coxton Shoe Co., Ltd., 1925
Shown at the London International Shoe Fair
The Victoria & Albert Museum

In the 1920’s, the footwear fashion for men was to wear “Oxford” lace-up shoes—essentially a “closed tab shoe.” They were so-called because the eyelet tabs (these are the sections of leather with holes for the laces) were stitched under the front section of the shoe (known as the vamp) as opposed to be stitched on top.

Oxfords, typically, were black or brown leather, intended for everyday wear. At the time, especially in Britain, men of taste followed strict rules of “appropriate” dress. Brown shoes worn with a dinner suit were considered inappropriate. And, any display of vivid color footwear was thought to be vulgar.

And, then, there are these shoes of bright red leather adorned with gold swirls. Clearly, these were not made for actual wear. No, these shoes were made to be displayed in order to showcase the maker’s skills. They were displayed at the London International Shoe Fair in 1925. Joining them were a black and gold pair and a thoroughly blinding, marbled blue leather creation.

Made by the Coxton Shoe Co., Ltd. of Rushden (Northamptonshire), England, the shoes were made specifically to catch the eye of American buyers. While a British man would never have dared to wear bright red shoes, American men had more freedom. Though this particular pair would have seemed vulgar, even my American standards, the workmanship demonstrated that the Coxton concern was able to produce more exciting designs than other makers. and may have been aimed at the American market which was open to more exotic designs.

The shoes feature gold leather decoration, a rounded-pointed toe, six eyelets, and gold laces. Red stitching on gold decorative strips gives interest to the backstrap, toe-cap, facing, vamp and quarters. They boast a stacked heel and a brown leather sole with a scrolling pattern along the edges and a green stripe between two red wheeled stripes.