Everett Shinn, 1922.
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Everett Shinn, 1922.

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Wedding Dress
c. 1924
unknown maker
Chicago Historical Society
Lady Abdy (1897-1992)
Russian fashion model, socialite and actress.
Lady Abdy (08.08.1903 - 24.11.1992)
When Iya was still a child, her parents divorced. At the beginning of World War I, Iya and her mother were in Germany, from where they managed to move to Switzerland. After the war, Iya wanted to return to Russia, but, on her way there, in Finland (then part of the Russian Empire), she met her first husband, Dutch entrepreneur Gerrit Jongejans. There, in 1917, their son was born, the future Broadway actor George Gaines, also known for his role as Commandant Lassard in the βPolice Academyβ franchise. The 1917 Revolution and the Civil War in Russia then followed in quick succession, so Iya didnβt return home. Very soon, she divorced her husband and, leaving the son to him, left for Western Europe.
In 1921, Iya came to Paris. She needed money - and worked as a tapper in a cinema for a while. βOne day, a Russian acquaintance <β¦> told me: βYou have a good shape, go to a fashion salon, youβll probably find work,ββ Iya recalled. So she went to the famous βCallot Soeursβ fashion house. She was offered a job as a βmannequinβ for 450 francs and breakfast. Although this occupation did not interest her much, she had no other ways to earn money.
One day, some Englishmen came to Callotβs salon and one of them wanted to get to know Iya better. He turned out to be a collector by the name of Sir Robert Henry Edward Abdyβ¦ So, Iya soon became Lady Abdy. From then on, all doors were open to the βitβ lady in Paris. She got to work with Paul Poiret, the most influential fashion designer of the time, as well as the Meinbocher fashion house, couturier Edouard Moline and other famous fashion designers.
Abdy herself experimented with style, shocking the public with unconventional outfits and looks that were just as unconventional as her appearance.
Vogue published Abdyβs photographs made by Parisβs most fashionable photographer, George Hoyningen-Huene (who was also of Russian descent). βLady Abdi, one of the beauties of foreign society in Paris, always dresses in a strictly personal style. Her taste is undeniable and uninfluenced. She can awaken inspiration in the makers of womenβs toilets,β Vogue wrote about Lady Abdy.
After several years of marriage, Sir Abdy, a keen antiquarian and collector, left his wife, but Abdy retained her Lady status. Moreover, she mortgaged the expensive jewels presented to her by her husband and the income from them enabled her to live comfortably the rest of her life. By this time, she was already a famous model, leading a luxurious life, renting expensive apartments and socializing in a circle of bohemians, rich people and famous Russian emigrants. In addition, she had already tried her hand as a designer and was sketching handbags for the fashion house her mother had opened in Paris.
Once at a reception, Abdy met Coco Chanel and told her about the new idea of βbucket bagsβ, even showing her sketches. Chanel invited the Russian to work as a designer in her fashion house. But, to Abdyβs big surprise, she saw that Chanel had already begun to sell bucket bags based on her design, without her permission! Coco replied indifferently that she didnβt see the problem, because now Abdy was working for her. Unable to put up with Chanelβs difficult character, Iya soon stopped cooperating with her.
In 1936, Abdy made her debut as a theatrical actress. To the delight of the audience of the βOedipus Rexβ performance, she wore a sumptuous suit by Chanel.
In 1937, at the peak of Stalinβs repressions, Iya came to the USSR to visit her already very sick father. βThen, I saw Moscow for the first time - a very sad sight! It was winter, everything was covered with snow and my hotel Metropol was not far from the Kremlin. There was a black crowd walking along the streets and I looked out the window and saw the Kremlin all covered in snow. I was very sad. A Hungarian journalist asked me: βWhat do you want, Moscow to show you bathrooms in workersβ hostels or in communal apartments?ββ Alexander Vasiliev quoted Lady Abdy in his book. However, rumor says that there was another reason for her trip, a more romantic one. Lady Abdy is credited with an affair with Soviet writer Aleksey Nikolayevich Tolstoy. And it was she who allegedly became the prototype of the colorful character in his sci fi novel, Hyperboloid of Engineer Garin (a.k.a The Garin Death Ray), the ballerina and adventuress Zoe Montrose. However, Vasiliev writes that we can only wonder who really accompanied the fashionista on her trip back home and, more importantly, why she was released from the Soviet Union back to France.
A new adventure awaited Lady Abdy in Paris. Because of her close contacts with an Italian from Mussoliniβs government, she was suspected of spying for Italy and was expelled from the country. After her marriage to Sir Abdy, she was a citizen of the UK - so she had to move there. During World War II, she was called to serve as an interpreter. Fluent in Russian, French and German, she not only translated military negotiations, but also negotiated the return home of Soviet prisoners of war.
Dress, 1924
Woman's Dress, ca. 1925
Maker: Callot SΕurs (France, Paris, 1895-1952)
Materials: Silk satin with metallic-thread supplementary-weft patterning, printed, with glass sequins, metal sequins, glass beads, linen and metallic-thread lace, and silk plain weave (crepe chiffon).
Housed at LACMA.

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Dress Callot Soeurs, around 1924-1925. Black silk satin, coral silk thread embroidery and gold metallic threads, coral and black silk satin background. Donation from Mrs. Sue, 1964.41.6 Β© Stanislas Wolf/Palais Galliera/Paris Museums.
Created by the Callot sisters, the eponymous fashion house opened at 24, rue Taitbout in 1895, in a district devoted to luxury and fashion, before being transferred to 9-11, avenue Matignon in 1914. It will be directed by Marie Gerber from 1920 to 1927, then by her sons, and will settle at 37, avenue Montaigne in 1934 before ceasing its activities in 1954.
Very popular with a cosmopolitan clientele, the Callot style gives pride of place to lace, trimmings and orientalism. The Chinese influence, which has permeated the decorative arts for decades, is indeed omnipresent in the fashion of the 1920s and this dress is a brilliant illustration of it. The sobriety of its cut, highlighted by a straight black satin tunic that stands out on a tango orange background - a color then very fashionable - gives it all its elegance. "Chinese embroidery remains in favor of straight tunics in shiny satin," notes the magazine Femina in October 1924. Embroidered symmetrically on the front and back, the decor discreetly takes up this chromatic choice. In an original composition, dragons, fish and clouds unfold around plain black medallions, imposing the image of a screen sheet. This dress, offered by the granddaughter of one of the Callot sisters, comes from her mother's wardrobe, which has several models of the house.
Courtesy Alain Truong
'lounging pajamas by callot soeurs, circa 1926' in fabulous fashion: 1907-67 - costume institute at the metropolitan museum of art
tea dress, 1923 by Callot Soeurs
this dress is made of silk georgette
this dress can be found in: the National Gallery of Victoria
Callot Soeurs evening dress ca. 1926
From Kerry Taylor Auctions
1924 Callot Soeurs evening gown. The Callot Sisters had such a way with color, I wish this was in color! From Pinterest.

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1922 Winter Collection Callot Soeurs evening dress of lame silk brocade, trimmed with bead embroidery and tassels; large folded-panel train. From the Kyoto Costume Institute.
1919 Lanvin drawing and the dress itself, in velvet and crepe, beaded. From Noah, Pinterest.
Shoes by Philips Shoes
c. 1925-1935
The National Museum of Norway
A Jeanne Lanvin evening dress featuring intricate black and silver beadwork, c. 1928.
Vogue (Paris) January 1924
Dresses in velvet by Callot Soeurs, photos by Steichen.

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Embroidered and Beaded Chiffon Flapper Dress
c. 1925
Kerry Taylor Auctions
Dorothy, Daughter of F. J. Elliott Esq. by George Spencer Watson (1929)