How strange it must be for younger generations to imagine that women once had to play a role imposed by society, which excluded the assertion of their individuality. As Sérgio Godinho asked in a song: “Pode alguém ser quem não é?” (Can anyone be who they are not?)
There was a period in history when not only did circumstances converge to achieve this assertion by women, but they also did so in an irreverent, joyful, and stylish way.
The 1920s, popularly known as the Roaring Twenties, saw women break free from imposed models. Until then, they were conditioned to a predetermined way of being and interacting in society, which was also reflected in their way of dressing, symbolized by the use of a traditional accessory: the corset, which would fall into disuse from that time onwards.
After the difficult times of the Great War (1914–1918), Portugal aligned itself with the ongoing innovations occurring in European and American capitals on various levels: from literature and painting to the revue theatre (remarkable for its very daring visual aspect for the time). In this context, women also embraced several changes, driven by the rekindling of the spirit of freedom and joy of living. They liberated themselves not only from the corset but also from the way of dressing that covered their bodies entirely, added generous curves, and hindered free and easy movement.
Equestrian contest. Lisbon, Portugal. Spectators. Mário Novais (1899–1967). Original photograph's date of production 1927. Source: Calouste Gulbenkian Foundation Art Library.
Thus, young women in particular created a sometimes androgynous style characterised by short haircuts, "à Garçonne", bold makeup (with the novelties of lipstick, mascara, eyebrow pencil, eyeshadow and nail polish), and straight-line clothing with wide necklines and bare arms. They also began wearing knee-length skirts, as well as short, elegant black or brightly coloured dresses, highlighting the shoes and stockings, which until then had been almost irrelevant. 
Garçonne Table Lamp, in the Antique Brass finish. © After Hall 2024
To honour these women and the crazy, impactful times they lived in, the After Hall team has developed what we believe to be the embodiment of these concepts. The result is our Garçonne Table Lamp, which, with its complex figure and robust body thanks to the brass, presents us with the strength and courage of that entire generation of modern women who managed to assert themselves and break free from the societal rules of their time. Its finishes — Antique Brass, Port, Cordovil, and Royal Pink — evoke the charm, boldness and zest for life that were so prevalent in this unique era.
Available finishes (left to right): Porto, Royal Pink, Cordovil and Antique Brass. © After Hall 2024
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Cover photo: On the left: Equestrian Contest, Lisbon, Portugal. Undated photograph. Photographer: Mário Novais (1899-1967). On the right: Beatriz Costa. Undated photograph. Produced during the activity of the Mário Novais Studio: 1933-1983. Source: Calouste Gulbenkian Foundation Art Library.