1930s Travel Pt. 1 - Luggage

A cold, rainy day here has us thinking about late winter travel plans, and the result is this post on luggage of the Deco era. Then, we have a big post planned about what goes in the bag - the travel wardrobe - coming soon! The information below is from reasearch we did for a talk on this subject for an Art Deco event a couple of years ago.

Travel in the 1920s & ‘30s was generally considered easier, cleaner, and more comfortable than just a generation or two earlier; it became increasingly less necessary to pack special clothing (typically dark and old) just for wear on the train, etc. It was also faster – the result of improvements in rail technology, streamlined ocean liners like the Queen Mary and the Normandie, and the rise of air travel – meaning fewer clothes were needed just for the journey itself.

Then, too, clothing itself was less bulky – a few pairs of silk tap pants or camisoles versus yards of muslin petticoats, for example. As the copy for the 1927 Ivory Snow ad (above) reads: “A company that delivers luggage form the great railway terminals in New York has petitioned for an increase in rates. Its reason: trunks are becoming too few for profit. Women’s clothes are now so dainty and delicate that half a dozen changes of costume can be carried in a bag or 2. Yet scarcely 10 years ago, only a trunk would have held all the necessary starched lingerie, petticoats, nightgowns and shirtwaists.”

Finally, more people had the opportunity to travel – formerly a privilege of the wealthy only. The idle rich “wintered” here and “summered” there, but working people could take a “vacation.” But, whether traveling First or Tourist class, the modern traveler required new kinds of luggage.

Top U.S. manufacturers
Like many other industries of the early 20th century, hundred of today largely unknown luggage manufacturers existed in the 1920s and the majority did not survive the Depression. Some names we recognize today, like Samsonite, were not that well known until after World War II. At the low end, fiberboard suitcases, known as “Please Don’t Rain’s” could be had for next to nothing – provided it didn’t get wet.

For those who could invest in smart, quality luggage, these were “the Big Four” of the 1930s:

Oshkosh. Founded in 1902 as the Oshkosh Trunk Company, they made trunks exclusively until 1927. The Oshkosh “Chief” - shown above - with its distinctive red and yellow stripes, was the top of the line.

1924 Oshkosh ad, fairly dripping with snob appeal: “First impressions are made as often on things unseen, as seen. Oshkosh Luggage is inconspicuous in circles where essential niceties are taken for granted and only shortcomings are remarked.”

Belber. This company quietly bought Oshkosh in 1913 but continued to market Oshkosh separately until they sold the company in 1939.

Hartmann. Still in business, it was founded 1877 in Racine Wis. by Joseph Hartmann, a Bavarian trunk maker. By 1936 when this ad appeared, they offered over 800 models and sizes of steamship trunks & luggage.

Hartmann’s “Century of Progress” line was introduced in 1934 to tie in with the World’s Fair in Chicago.

Wheary. Also based in Racine Wis. and was later bought by Hartmann. The above advertisement is for their Stream-guard luggage, 1937. It used chrome in a novel way to keep the sides from getting banged up. Below: ad from 1939. By now they had established a show room in the Empire State Building.

Though founded in 1910, the Schwayder Brothers, makers of Samsonite, were better known in the 1930s for their card tables. Here are the brothers standing on one to show its durability.

Some common luggage types
There were so many differnt types of hand luggage and trunks - we could only focus on a few of the most typical (for ladies).

Fitted Dressing Case.

A carry over from the Victorian and Edwardian eras. Little cosmetic cases, like Oshkosh's makeup box, shown below from 1938 (often called “train cases” today) would eventually replace the fitted case.

Hat box.

Round hat boxes prevailed in the 1920s into the early ‘30s, another Edwardian era carry-over. They could hold several small, packable hats and still had room for other small items. Alternatively deep, square cases for hats and shoes, like our Wheary model, below, were more popular. It has pockets for a few pairs of shoes around the edge, with room for hats in the middle, and small items (like stockings) in the lid. Yes, it weighs a ton!

Wardrobe Trunk.

Often referred to mistakenly as “steamer trunks,” you can easily tell them apart because wardrobe trunks are hinged in the center and open vertically, as they have drawers and hangers on the interior; steamer trunks have a lid and a bottom and open horizontally.

Wardrobe suitcase.

Like miniature wardrobe trunks, but they could slide under a Pullman berth. Hartmann’s version, shown here, was called a “Tourobe.” Wheary’s name for it was “Wardrolette.”

Club Bag.

Shown in this 1929 ad as (H), a club bag looks like an old-fashioned “doctor’s bag” but had no interior compartments – just open.

Of course, what bags you needed really depended on how you were traveling.

If By Sea…Most of the big liners allowed a generous 350 lbs of baggage per person, taking into account the 4-5 days of travel each way. There were limits on the size of luggage you could have in your stateroom. Luggage that you didn’t need for the voyage itself would be marked accordingly, and typically sent on in advance to be stored in the ship’s hold. Baggage too big for the stateroom but possibly needed during the trip could be stored in an accessible baggage room. Essential bags would be labeled “wanted on voyage,” to be placed in your stateroom.

This ad copy from this 1938 ad (below) reads: “She dined aboard ship at Southampton – yet this evening she dines at Mayfair. Exquisitely dressed... perfectly poised… faultlessly groomed – as though she had been here a month. All quite understandable. She’s equipped for smart travel… with Hartmann trunks and luggage.” (She was probably also equipped with a lady’s maid). Shown is the Hartmann "Pathfinder" - a monster of a trunk that swiveled for easy access.

If By Train…

Excellent service was assured on Pullmans by professional porters and maids. Most belonged to the esteemed International Brotherhood of Railway Sleeping Car Porters and Maids, a union founded in 1925 (Pullman then employed about 15,000 porters). A porter would take your bags and put them in your compartment. You would pay him roughly .10 per bag - this was not a tip, but rather the fee for this service. You would tip the porter at the end of your trip, about .25 a day (about $3 today) - more if you had needed a lot of extra service

If By Air...

The increasing popularity of air travel during the 30s required a whole new kind of luggage – a lightweight kind. Manufacturers experimented with vulcanized fiber, raffia, wicker and lightweight alloys to replace the heavier structured cases of leather and wood, and all of the big names came out with “Aero” luggage of some sort.

Wheary’s Aviatrix bag advertised in 1929 - they also had the "Aviator" for men. (Hartmann’s version was called the “Skyrobe”).

Speaking of aviatrixes, Amelia Earhart endorsed many products, but she was actually personally involved with the creation of Amelia Earhart Luggage in the mid-1930s (Eastern Airlines).

Most planes of the time had a weight limit assigned to their license to fly, so more luggage meant they could take on fewer passengers – hence there were baggage weight limits. Dreaded “excess baggage” fees were imposed for exceeding it (passengers themselves stepped on the scales as well!). The Ford tri-motor of the early ‘30s (above) had a total weight limit of 2900 lbs. Passengers were allowed 25 lbs of baggage with their ticket. On big commercial liners like the DC-3, 40 lbs was the usual limit.

A couple - maybe on a flying honeymoon - looks over the Pam Am Clipper schedule in Miami while a Clipper “steward” is left holding the bag(s). Unlike other airplanes, which had women attendants, the Clippers had men, with uniforms resembling those of ship stewards, in keeping with the nautical "Flying Boat" theme.

With the USA’s entry into World War II, the major luggage manufacturers focused on the war effort, making footlockers and sea bags, etc. With civilian pleasure travel curtailed, there was less demand for luggage anyway. After the war, those who remained in business would soon have to adapt once again to the travel needs of the “jet age” traveler. It was “bon voyage” to the golden age of travel.

Tamara de Lempika Biography in Paperback Soon

Tamara de Lempicka: A Life of Deco and Decadence by Laura Claridge, originally published in 1999, is due out in paperback next month, as a part of the Bloomsbury Lives of Women series.

Though de Lempicka’s actions are not always admirable (especially in reference to her daughter), but she is interesting. Claridge's is probably the most accurate biography of de Lempicka to date. Sorting fact from fiction could not have been easy; the artist carefully controlled her public image and perpetuated many of the myths surrounding her (the book’s sources include a “sometimes awkward phone conversation”).

Myth vs. reality: Tamara’s self portrait, the cleverly titled Autoportrait: Or, Woman in the Green Bugatti. The artist’s own car was not a Bugatti, nor was it green – it was, according to the artist, a yellow Renault.

The artist at work on a portrait of her first husband, Tadeusz Junosza-Lempicki and below, the still unfinished portrait.

De Lemicka’s strikingly exotic good looks were frequently compared to Greta Garbo’s. It is not suprising, then, that in a 1940s interview, when Tamara and her second husband, Baron Raoul Kuffner, were living in Hollywood (where she was supposedly known as ''the Baroness with a paintbrush'') she named Greta Garbo as the movie industry’s most beautiful actress.

Portrait of Tamara’s daughter, Baroness Kizette De Lempicka-Foxhall (who is herself the author of a book on de Lempika, Passion By Design: The Art and Times of Tamara de Lempicka, 1987).

De Lempicka around the time that she was living in the U.S.A.

Hollywood's Best Dressed of 1935

The Paris dressmakers had their best-dressed lists - the Hollywood studio designers had theirs… Contemporary reporter Dan Thomas gives us a glimpse of how that list came about in this tongue-in-cheek (?) article from January 30th, 1935:

Women shrieked…fought…kicked…hair fell off by the handfuls…shins were bruised and noses tweaked… eyes blackened! Hollywood’s annual battle to determine its best dressed woman was in full sway. And when the smoke cleared away, revealing scores of exhausted and disappointed girls strewn over the battlefield, six women could be seen in a triumphant march with Carole Lombard at their head. And flanking her on either side to make sure her throne is not usurped are Norma Shearer, Kay Francis, Genevieve Tobin, Joan Crawford, and Claudette Colbert.

The six women were chosen by the top studio fashion designers, who then left it to the actresses themselves to choose their own fashion leader.

And the winner is...Carole (Image: Dr. Macro)

Perhaps a word of defense should be offered for those experts…Take Adrian, style creator for the MGM studio. Suppose he had named Norma Shearer as best dressed. The next time Joan Crawford came in to have a new gown designed, she probably would wreck his office. Or if he had picked Joan, Norma might have told him that she didn’t think so much of his clothes, anyway. And if he had picked a girl from some other studio, it's quite possible that neither of them would have spoken to him again. Adrian realized this and played it safe. Without definitely selecting anyone, he mentioned that both Norma and Joan dressed with extremely rare judgment.

“If Adrian names you #1, so help me I’ll kick *CENSORED BY THE LEAGUE OF DECENCY*"

Regal Joan

Queen Norma

“The best-dressed woman in Hollywood, and that virtually means the world, as nearly all women now are following Hollywood fashions, would necessarily have to be perfectly clothed on any or all occasions.”

Norma with Gilbert Adrian. Although his slinky bias-cut dresses are largely associated with Jean Harlow today, the designer created many such gowns for Norma Shearer, too (he called them “Norma’s Nightgowns”).

Travis Banton took the bit in his teeth and named Carole Lombard. “She is the epitome of the smart woman of fashion.”

Carole

Carole with Travis Banton. He designed many of her off-screen outfits as well. The lovely Carolelombard.org has an interesting post about Banton’s process for creating a gown for Miss Lombard, here.

Robert Kallock of Colombia chose Colbert “because she always has perfect taste.”

Claudette

Orry-Kelly named Kay “because she never makes any obvious attempts to be smartly dressed. It is her very conservatism, which is extreme, that makes her smart.”

Kay

Kay looks over sketches with Orry-Kelly

Walter Plunkett, stylist at RKO, named Genevieve Tobin. “She dresses conservatively, correctly, and becomingly. In my opinion these are the three requisites for good dressing.”

Genevieve (Image: Dr. Marco)