Style and Cut

• Designers in the '20s cut the dresses of the day, even formal ball gowns, in a loose and straight fashion. Gowns did not hug a woman's curves, rather, they hung from the shoulders and fell straight down without so much as a dart at the waist to identify the wearer's female form. Dressmakers lowered the waistline on gowns, in line with the Flapper fashion of the day, and placed a trendy drop-waist at the hips. Their aim with formal dresses was the same as with daytime dresses, to hide a woman's physical attributes and create a slim and boyish silhouette.
  
  

Hemlines

• Hemlines on nearly all dresses rose dramatically in the '20s, and formal gowns were no exception. They rose steadily in the early years of the decade and by 1925 ball gowns often had hemlines that fell anywhere from just above the ankle to mid-calf. Many saw this new development as shocking, especially for formal wear. With hems higher and more visible, many designers began emphasizing the line by cutting the hem asymmetrically. They created hems that were angled to be higher on one side and lower on the other, where they often came to a point.
  
  

Necklines and Embellishments

• The conservative crowd of the '20s found the necklines on women's gowns to be as shocking as the hemlines. Ball gowns were often sleeveless and had necklines that were quite low and rounded or that plunged into a deep V shape. Designers created another trend with necklines that were cut straight across at the collar bone, creating a masculine, broad-shouldered appearance. This look was often coupled with a daring, low dip in the back that went below the shoulder blades. They added low, wide belts at the hips which were offset by flowers or bows with long, flowing sashes hanging nearly to the floor.
  
  

Materials

• Even though many women of the '20s wanted to look boyish with short hair and short hems, they still loved feminine fabrics for their formal gowns. Ball gowns were often made of silk or smooth, shiny satin. Designers added gorgeous, meticulous beading to certain parts of a gown or covered entire gowns in tiers of beads at jaunty angles. They also often made the top of a gown, all the way down to the drop waist at the hips, from one material. Below they added other materials, such as feathers or fringe to further play up the drop-waist look.