The Roaring Twenties

Anyone who’s spent even just a few hours getting lost in the narrow alleyways of Genoa’s old town and has taken a stroll under the arcades of Sottoripa can easily picture Mimmo Lucarda standing proudly in front of the family’s new shop.
Imagine a porticoed street, where the sea once nearly lapped at the arches, bustling with life, sounds, and people. Now picture a “tiny shop,” as Mimmo fondly called it, selling workwear for dockers and sailors—but also casual and sporty clothing for everyday life in Genoa.
Some might raise an eyebrow at the mention of “sportswear” as early as the 1920s, but that’s precisely the decade when the concept of “leisure time” began to take shape. With peace finally restored after the devastation of the First World War, people threw themselves into outdoor activities. Equally important was the wave of consumer euphoria that swept through society.

Among both the upper and working classes, the idea of free time as something distinct from work began to take root—especially in larger cities, where it gradually became part of daily life. Naturally, the fashion world didn’t miss the chance to jump on this trend, designing new lines for outdoor activities, sports clubs, and gyms. Just think: thanks to these developments, women were even able to wear trousers!

And speaking of revolution in fashion, one simply cannot ignore Gabrielle Bonheur “Coco” Chanel—the woman who freed women’s bodies and gave them comfort, movement, and—why not—freedom of thought too.

During the First World War—and even more so during the Second—women suddenly found themselves at the center of social and economic life. With the men off fighting, they took on roles that had previously been out of reach. It was a time of great progress, especially for British and American women, who even gained the right to vote (in Italy, that would take a few more years).

An active lifestyle required clothes that allowed freedom of movement, and Chanel was one of the strongest advocates for this new wave of female emancipation. Her designs, known for their simplicity and comfort, resonated with women who embraced this revolution. The jersey three-piece suit became an iconic symbol: a cardigan with patch pockets, a skirt, and a pullover—offering full mobility while still flattering the body’s shape, thanks to the soft fabric that gently followed its contours.

Over the years, she would simplify her cuts even further, basing her idea of the ideal silhouette on the chemise: a loose, tubular dress that skimmed the body, often made of jersey or rayon for daytime, and embellished with beads, prints, or embroidery for the evening.

Clothing from this era was designed with flat-chested, slim-waisted figures in mind—so much so that the French dubbed the style à la garçonne, meaning “boyish.”

Thanks to women’s emancipation—and the Prohibition years too—we saw the rise of the “flappers”: women who came to represent a new, modern female identity in the Jazz Age. Flappers smoked, wore lipstick, danced wildly to the shimmy and foxtrot, sported bobbed hair, and carried light, easy-to-handle handbags that allowed for complete freedom of movement.

One can imagine the horror with which the older generations looked on! But as we know, without change, there is no future. And Mimmo Lucarda, by opening his shop in Sottoripa, clearly knew that all along.