Planting
Fields opens its spring exhibition, Cocktail Culture:
The Gold Glamorous
Coast Years From Prohibition to 1960, March 31st at Coe Hall, open every day
11:30am – 3:30pm, through September 30th.
Coe Hall opens for
the season with the exciting Cocktail Culture exhibition that can be seen every
day, 11:30am – 3:30pm through September 30th. Starting with the 1920s, the show
is a veritable feast for the eyes and includes fabulous clothes by some of the
greatest designers of their time such as Mariano Fortuny and Elsa Schiaparelli.
There are extraordinary works of art for women's feet made by Salvatore
Ferragamo in the 1930s and by Dalman and I Miller. Also included are beautiful
hats by Tatiana of Saks 5th Ave and by Adrian of Hollywood.
The cocktail is the
consummate American medium, embodying a unique mixture of innovation, modernity
and glamour. As shown in the exhibition, its history in fashion, bar
accessories, and popular imagery, captures the spirit of an American
phenomenon. The exhibit begins at the time that Coe Hall was being built, in
1920, the same year in which the Prohibition Amendment became law (it was
repealed in 1933). For their new house at Planting Fields, Mr. and Mrs. William
Robertson Coe had a very large secret storage space built in the basement for
bottles of liquor. To this day there still is a massive safe door hidden behind
a nondescript board and batten door that might be found in any service area. It
is clear that the Coes did not want Prohibition enforcement agents to know that
they had seven hundred square feet of cellar with shelves for bottle storage.
In Mr. Coe's study, sometimes known as the den, the bar is also a hidden space,
its entrance door seemingly part of the room's Tudor style oak paneling. The
general ledgers originally maintained by Mr. Coe’s New York City office, and
now in the Foundation’s archives, reveal that in 1918 and 1919, the two years
leading up to Prohibition, Mr. Coe, whose favorite drink was the Manhattan –
made from whisky, was stockpiling liquor. In 1918 he spent $10,021.65 (today
about $143,834), in 1919, $25,328.07 (today about $316,376), for a grand total
of $35,349.72 (today over $441,000). Champagne and whiskey were the two most
stockpiled types of liquor. Other liquor purchases in 1918 and 1919 include
sherry, brandy, vermouth, and wine. It is hard to determine Mr. Coe’s usual
annual expenditure on alcohol because he only kept a separate entry for liquor
in 1918 and 1919; in previous years it was included in general household
expenses.
The new law made it
illegal to make or transport liquor, but Long Island became one of the most
notorious routes along which liquor was trucked from the island's many shore
towns, where it had arrived by boat, mostly from Canada and the Caribbean, and
then by road to New York City. Prohibition agents patrolled the highways ready
to confiscate illegal liquor. Twice in 1924 agents caught Mrs. Coe’s brother,
Henry Huddleston Rogers, having liquor shipped by his chauffeur from his Long
Island mansion to his apartment at the Ritz-Carlton Hotel in New York City.
Following the second incident in December 1924, Rogers’ attorney produced a
Federal Permit declaring the liquor transfers legal. The Volstead Act had a
loophole that allowed the transportation of alcohol from one permanent
residence to another provided a permit was obtained. During the same period of
time, speakeasies in the village of Oyster Bay were notorious, several of them
conveniently located near the waterfront. A letter to the Times in 1924 took
the police to task for permitting such “goings on” to continue. The subject of
cocktails is often a feature of novels of the period including F. Scott
Fitzgerald's 1925 The Great Gatsby, where at a party on the North Shore it is
observed that, "The bar is in full swing, and floating rounds of cocktails
permeate the garden outside...”
In the exhibition,
dresses from the 1920s reflect women's new freedoms, including the vote (1920);
the flappers' independence found expression in their new style un-corseted,
skin-revealing sheath dress. The shorter skirts drew attention to the legs and
the surfaces of dresses, which often had reflective beads, sequins and fringe,
further emphasizing the flappers contagious energy. Hollywood embraced cocktail
culture and the prototypical flapper. Films such as "Three Broadway
Girls" (1932) with its sassy gold diggers dressed by Chanel, showed its
stars in speakeasy bars at the height of Prohibition. Drink titles were
inspired by popular fast moving dances, including the Charleston Cocktail and
the Foxtrot Cocktail. Shoes in the 1920s reached an exceptional level of
craftsmanship, innovation and ornate Art Deco designs, several types of which
are included in the exhibition.
The repeal in 1933 of
the 18th Amendment that had banned alcoholic drinks, reinvigorated cocktail
culture. Innovative cocktail recipes, new forms of cocktail accessories, and
supper and nightclubs proliferated. The term "cocktail dress" entered
the fashion lexicon around 1935. With the ubiquitous little black dress a woman
would wear costume jewelry and could top off her ensemble with a whimsical hat
or fascinator. The typical 1930s silhouette was elongated and figure hugging,
in contrast to the earlier sheath. Like the dresses, cocktail shakers took on
the attenuated lines of the skyscraper aesthetic which was uniquely American.
Speakeasies became legal restaurants, such as The Stork Club and the 21 Club,
which still exists today and where Natalie Coe, the daughter of Mr. and Mrs.
Coe, was photographed at the bar in the early 1930s.
During World War II,
government restrictions on wool, silk, leather, and nylon, as well as on metal
buttons, pleating and full skirts had a sobering effect on fashions. The era's
military-inspired silhouette for women had padded shoulders, slim hips, and a
knee-length skirt better suited to practical wartime work. Paris was no longer
the epicenter of new fashion; therefore, American designers became more
inventive with designs for accessories, making fanciful shoes, hats, and gloves
which was an easy and economical way to embellish an outfit. At the same time
new materials, including plastics and synthetic fabrics, were used in
innovative ways. With the advent of food rationing, the cocktail party became a
convenient way to entertain without the pressure of providing a lavish spread
of food.
After the war there
was a return to the traditional and overtly feminine fashion silhouette. In
1947 Paris resumed its role as the center of couture with Christian Dior's
revolutionary New Look silhouette, featuring a wasp waist, padded hips, rounded
shoulders, and lavish full skirt; this was a huge change from the sobriety of
the war years. In regard to cocktails, gender-specific drinks became the rage;
for women, brightly colored drinks - the Pink Lady and the Brandy Flip. For men
cocktails were more restrained - the Manhattan, Old Fashioned, or Martini.
At Planting Fields
the cocktail era came to an end in 1955 with the death of Mr. Coe. His second
wife, Caroline, died in 1960. And so the exhibition ends with the traditional
ladylike cocktail ensembles with the requisite hat and gloves of the late
1950s, and with a glimpse of the quintessential cocktail dress worn by Audrey
Hepburn in the 1961 movie "Breakfast at Tiffany's". Cocktail culture,
which began so many years ago, is now indelibly pressed into the fabric of
American culture, if not world-wide. While styles may change the cocktail and
its rituals are undoubtedly here to stay.
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Before I continue with my stories, check out Planting Fields here
This was one stop on our BFF Summer Fun List...I am so happy.
