They were inspired by earlier masculine styles in neckwear. They sport heavy fringes with straight hair curled up at the bottom. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. In the 19th century, even the comparatively well-to-do had fewer clothes than do their 21st-century counterparts. Dinner dress, 1908-10. The grosgrain waist stay (grosgrain is a heavily ribbed silk) bears the label 'Jean Desses 17 Avenue Matignon PARIS'. During the war, accessories were important because of their relative affordability; tall platform shoes or sandals, and tall flowery hats were fashionable. T.33&A-1988Given by Mrs M. Bagel. (Mrs Humphry, 'Manners for Men', London 1897). However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. New York: Fashion Plates: 150 Years of Style. The start of World War I in 1914 played a big part in the shift of the typical silhouette, and womenswear became more practical as women prepared to enter work. Its stark, simple lines suited her elegant, uncluttered style. Today, the company retains a host of Royal Appointments. The shops showed them on Twiggy portrait mannequins, and Twiggy did all the modelling and publicity. Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Purple was a typical Biba colour, but when combined with a vibrant yellow zig-zagging print and a short flirty skirt, the effect is dramatic. Horrockses cotton dresses, with their brightly coloured prints and full gathered skirts, were a fashion success story in the period after the Second World War. The cascade of velvet ribbons and diamant buckles focuses attention on the back. Side saddle riding habit (jacket, skirt, breeches)John Redfern (1853-29)1912, LondonBlack wool flecked with white, lined with pearl grey satin (jacket) and cotton twill (skirt); breeches of woollen jerseyMuseum no. The choice of blue and white, refers to the 'matelot' style popular amongst youth in France during the mid 1960s. This photograph is by fashion photographer John French. 1890s skirt and blouse made by Premier Clothing. 18 - Cecil Plains. On the tailor-made cloth dresses and coats and skirts, braiding of all kinds and applique of velvet were the usual trimming, and embroidery also ornamented all materials from cloth to net. It has an unusual bodice (without centre back seam), incorporating bat-wing sleeves with long, tapered cuffs and a wired 'Tudor'-style, heart-shaped collar. With higher waistbands out of fashion, the column shape rose in popularity. Photograph of Eve BoswellHarry Hammond (1920-2009)1950s, Great BritainHarry Hammond Collection. Hair was worn with a side parting but slicked back with 'Brill cream'. Sometimes they employed artists to illustrate these items. It thrust the hips backwards and forced the chest forward into a fashionable pouter-pigeon shape, emphasised with puffed, frilly blouses that were often embellished with decorations like lace collars and broad ribbon ties. The cut of this jacket is derived from the earlier 'reefer' coat, usually worn for sailing. Another fabric used in the Victorian era was Crepe. Even for young children, clothing had to the ability to give an insight to their wealth and class. The prevalent 1930s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skimmed over the body's curves. Grey flannel suits were common, worn with shirt, tie and pocket handkerchief. Driving CoatHammond & Co. Ltd. (tailors)1906-8LondonWoven houndstooth check tweed, lined with silk and woven woolMuseum no. Wreaths decorated with small waxflowers - in this case,orange blossoms on wire stems - were popular wedding accessories of the 1930s. They were madeto sit on top of the head, bothas a decoration and a way of holding the long veil in place. During the First World War and through to the 1930s many women entered the work force for the first time, and wanted to reflect their new independence in the way they dressed. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. Gift of the Brooklyn Museum, 2009; Gift of Mrs. C. Oliver Iselin, 1961. Fabrics varied, and included calendared or glazed fabrics of wool, plain or floral printed calicos and muslins, and glazed chintz monochrome or polychrome prints. 33, and the retailers' maxiumum selling price for the suit in 13/13 1/2 oz woollen frieze was 4 2s 2d. During the war, most men wore military uniform of some kind. In 1914 he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. Milford-Cottam describes other popular day looks that popped up at sporting events in England: By 1901, men attending spectator sports in the summer were increasingly wearing flannel and linen suits, straw Panama or boater hats, blazers, white trousers, and, of course, the royal-approved homburgs [a type of hat] and tweeds. (39). This printed design was based on an Art Nouveau textile in the V&A collections. T.288-1973Given by Mr J. R. H. Cook. Bings severe self-presentation of 1934 shows an independent, unadorned, determined professional. The common people clothing starts to vary more between countrys than earlyer centuries. - for undergarments like tunics and underdress. One gentlemen's etiquette book wrote: There are special suits for all kinds of outdoor amusements, such as shooting, golfing, tennis, boating, driving, riding, bicycling, fishing, hunting, &c., but into the details of these it is unnecessary to enter. Bernard Weatherill was a men's tailoring and equestrian dress-maker, established in Savile Row in 1912. Source: SPARC Digital, Fig. The House of Worth, established in Paris in 1858 by Charles Frederick Worth (1826-95), was the original and founding couture house. Milbank, Caroline Rennolds, and Harold Koda. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that many teenagers would be able to buy. Charles Frederick Worth (1825-1895) was a celebrated couture dressmaker in Paris. A simple waist-tie gives shapely definition to the loose tunic-style. The success of their affordable, youthful designs enabled them to open a small shop in Kensington the following year. It was used for the flimsy scarfs which were folded twice round the neck and tied in a bow or knot in front, and for frills everywhere. In tune with the times, Mary Quant offered them identities of their own with styles such as this vivid red shift with youthful appeal. Hats were either small pill-box styles or large brimmed, saucer-like hats. The 1950s continued the late 1940s style with very full skirts, cinched waists and sloping shoulders. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. The plain line of the skirt now began to disappear in trimming. Though initially shocking to some, many designers embraced its informality and ease of movement. The popularity of the smoking suit shows how sartorial rules were relaxing in the late 19th century. The dress is typical of the mid to late 1940s, when full skirts and padded or paniered hips were very fashionable.This style was fashionable into the early 1950s, but the hairstyle marks it out as a particularly 1940s model.Here the hair is shown piled high, in curls, on top of the head.In the 1950s hair was worn in chignons towards the back of the head or at the nape of the neck, or cropped short in a gamine style. This garment reveals the fashionable elements of dress immediately before World War I (1914-1918). Though couture clothing like this was out of most women's reach, it inspired more affordable fashions. Chiffon was also a popular fabric for dresses because of this exceptionally light appearance. Trousers during the 1850s slightly widened at the ankle, but on the whole, gave the view of a tubular shape. Dresses from Horrockses Fashions appealed to women of different ages and social backgrounds as the perfect summer dress. The success of the firm was due to the quality of the design of the printed cottons, often commissioned from artists, combined with advanced production methods, which preserved the crispness of the cotton while allowing for frequent washing. Wool and cotton were used widely, with silk reserved for functions and the upper class. This dress was designed by the fashion house Callot Soeurs. T.171-1964Given by Mrs M. Massey-Stewart. His garments retained the angular shapes of the mid 1960s fashions so perfectly that they often almost stood up by themselves. Milford-Cottam writes of the clothing worn for these pursuits, For these, many women chose outfits intended to serve both as sporting wear and as serviceable, neat daywear (19). The three-piece lounge suit was commonly worn, but from 1914 to the end of the decade, many men were photographed in military uniform. These standards complied with restrictions and rationing of raw materials. ', Design for a suitField Rhoades Ltd (Marjorie Field)1940sLondonPencil and bodycolour on paperMuseum no. T.356-1984Given by Martin Kamer. Young, very fashionable 'flappers' wore their hems at knee level, with neutral coloured stockings and colourful garters. Then, both hand-crafted and mass-produced tailoring was as important as it is today. A wide sash arranged in folds below the waist emphasised the slenderness of the wearer. The style of jacket relies for effect on careful fitting to the body in front and gentle fullness at the back, and in the setting of the sleeves. History of Fashion 1900 - 1970, July 11, 2013. . Lady Ethel Templer (ne Davie, 1904-97), bought this dress in the late 1950s.She was very slim and was able to buy the original dress worn by a house model for the collection.It was originally strapless, but she asked Stiebel to add the straps because her shoulders were narrow.Lady Templer was the wife of the British High Commissioner to Malaya, and required an extensive wardrobe for the many formal dinners and state functions that she had to attend. Superb materials and top-quality workmanship combine to create this stunning evening dress. Braun, Emily. T.339-1960Given by Loelia, Duchess of Westminster. Sleeves could also be draped and necklines were sometimes off-the-shoulder. It shows a glamorous young woman wearing a fur-trimmed coat in the latest style, together with a cloche hat and bobbed hair. As a result of the war there were severe fabric shortages, which lasted until the end of the decade. A slightly high waistline was fashionable, as was a long tunic-like top worn over an ankle length A-line or 'hobble' skirt (cinched in at the hem). Towards the end of the 1930s the fashionable silhouette altered, and the prevailing streamlined shape was gradually replaced by wider shoulders and a more fitted waist, foreshadowing the silhouette that was to dominate the clothes of the 1940s. The S-bend corset was fashionable during the 1900s. The dress is cut on the bias - a prevalent 1930s trend, creating garments that skimmed over the body's curves. Afternoon dressLa Samaritaine (retailers)1929ParisSilk georgette, printed with a floral motif, hand and machine sewnMuseum no. Soft materials were used such as silk, velvet or wool in dark reds, greens, blues, brown or black. They are identifiable by a 'CC41' stamp, which is an abbreviation of the 'Civilian Clothing Act of 1941'. Evening dressElsa Schiaparelli, (1890-1973)1940, ParisBlack silk crepe, embroidered with pearls, sequins and metallic strip, and fastened with a plastic zipMuseum no. This style was sometimes used for evening dress. Edward Molyneux (1891-1974) could be relied on to provide streamlined distinction. The dress has a sleeveless bodice with a low-cut neckline. A sizeable silk-weaving industry existed in France from the fifteenth century . The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. The change which marks the end of the Victorian period in womens dress came in the year of the Diamond Jubilee, not with the end of the century or the death of the Queen. The full skirt features deep box pleats at the back for volume. Here Haley uses the image of a woman driver to represent a modern outlook and an independent lifestyle. Clark was one of Britain's most influential fashion designers of the 1960s and 70s. Many continued to sport short bobbed hair as they had in the 1920s. The Utility scheme was devised to share and conserve scarce resources, whilst creating practical and stylistically appealing clothing. T.297-1974Given by Princess Slanislaus Radziwill. Plain silks- for dresses, jackets, pants and capes. 1890-1899, 1900-1909, 19th century, 20th century, garment analysis, 1900-1909, 20th century, artwork analysis, 1900-1909, 1910-1919, 1920-1929, 19th century, 20th century, thematic essays, 1890-1899, 1900-1909, 1910-1919, 19th century, 20th century, thematic essays. Shop this and more here. T.216&A-1960Bequeathed by Lady Beerbohm. Schiaparelli gave this dress to the V&A after her retirement. Prior to 1910, finding color illustrations or swatches of fabrics is very difficult. 19th Century A.D. Copper; Cotton; Europe; European Decorative Arts . T.640-1996Given by Mrs Elizabeth Payze. In woolen fabrics, De laine, the old mousseline that is a thin texture of muslin, made with woolis again seen, printed or plain (Ladies Treasury, 1894), and was a favorite material, as is seen in many surviving dresses. 'New Look' jacketChristian Dior (1905-57)1947ParisWool flannelMuseum no. 6). Fashion designer Many Quant influenced the rise of miniskirts during the 1960s. Lace was also rather big during this period, especially as trimming or appliques. The focus on this jacket is the double-flared panels which draw attention to the hips. As the Victorian era drew to its close, skirts for both day and evening were elongated at the back to form a train. T.20,A to D-1960Worn by Miss Heather Firbank. The skirt is cut as a complete circle. Toilette de Promenade, Fashion plate from La Mode Artistique, 1903. Dress and shortsEmmanuel Ungaro (born 1933)About 1968Machine sewn gabardineMuseum no. T.21 to B-1960Worn by Miss Heather Firbank. Lace was also rather big during this period, especially as trimming or appliques. Evening dresses were a little more risqu, often with spaghetti straps, showing shoulders and chest. Photography was a novel and exciting development in Victorian days. He was a slim, elegantly dressed man, who was meticulous about his dress. Throughout the decade, the most formal option for men was the frock coat during the day and tails in the evening (Fig. She also studied at Boston University and London College of Fashion. For a large part of the decade, the fashionable silhouette continued to be dominated by the S-shape created by a new health corset. The skirt is made of pleated lustrous silk taffeta. This pair of ladies' evening shoes, in gold kid, is painted and lined with grey kid. T.173-1964. We are to use a good deal of lace, old lace and new, but the new is made to simulate the old as much as possible (Queen, 1893). The 1930s silhouette is therefore slinky and close-fitting. Also see the 20th-century overview page for more research sources or browse our Zotero library. The smoking jacket was often worn in place of the dinner jacket for an informal evening at home. Evening ensemble (dress and jacket)Mainbocher (1891-1976)1937ParisSilk crepe, embroidered with sequins (jacket)Museum no. Crepe was a fabric that was associated with mourning and is like silk. Having trained as an architect, initially he made plastic buttons and jewellery for Paris couture houses. Designed by Elegant Themes | Powered by WordPress. This evening mini-dress in black crepe was designed by Mary Quant for her Ginger Group collections in 1967-1968. After a brief career in engineering, he turned to fashion and worked with Balenciaga from 1949 to 1961. These dresses were usually worn during the morning while they were eating their breakfast or during the time of their regular work like shopping or visiting someone. T.271&A-1990Given by Mr. R. Hughes. The metal has oxidised making it appear slightly black and dull. His designs were adopted by royalty, actresses and fashionable women for everyday wear as well as for sports. Lounge suit (jacket, waistcoat, trousers)Designer unknown1918-20Great BritainWoven tweed with a vertical stripe; (Jacket) Lined with twill ; (Waistcoat) Lined with linen with a narrow black and wider brown stripeMuseum no. Vests were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. Some men wore their collars turned down, with rounded edges and modern knotted ties. Privacy Policy (function (w,d) {var loader = function () {var s = d.createElement("script"), tag = d.getElementsByTagName("script")[0]; s.src="https://cdn.iubenda.com/iubenda.js"; tag.parentNode.insertBefore(s,tag);}; if(w.addEventListener){w.addEventListener("load", loader, false);}else if(w.attachEvent){w.attachEvent("onload", loader);}else{w.onload = loader;}})(window, document); The Fashion History Timeline is a project by FITs History of Art Department. T.23 & 105-1960Worn by Miss Heather Firbank. for skirts, jackes, waistcoats and pants. She wears light eye make-up and bright red lipstick.She wears casual, youthful dress, inspired by teenage and rock and roll fashions. Predominant colors were madders, browns, greens and pinks. These women needed something more practical to wear and this came in the form of the tailor-made. These suits were introduced in the late 1800s and both working and wealthy wore them in the 1900s. This suit is typical of the 1940s post-war 'New Look'. The skirt is straight and slightly below the knee in length, while the jacket features a nipped in waist, padded hips, and sloping shoulders inspired by Christian Dior's 'New Look' collection of 1947, which moved fashion away from the boxy, military look of the war years. It is shorter at the front than at the back, combining the formal grandeur of traditional ballgowns and the fashion for short eveningwear typical of the late 1950s. For daywear, the skirt still cleared the ground, until 1898. Despite this, tailcoats were still seen as the most formal attire. The lady was a delicate flowers, sweeping her way across the room in her full skirts and ruffling petticoats. Dinner dress, ca. During the Edwardian era, it was common for women to wear boned corsets, squeezing waist sizes down to 20 inches or less. By 1905, cars were also growing in popularity, leading to an increase in demand for fashionable car coats, also known as manteaux automobiles. Stilettos and beehive hair styles were used to complete the most stylish looks of this decade, making the 1950s one of the most glamorous periods of the 1900s. A variety of aniline dye-colored fabrics were shown at the 1862 London International Exhibitionthe textiles were displayed next to the sticky black coal tar waste from which the dyes were derived. This is from the collection of Heather Firbank (1888-1954), daughter of the MP Sir Thomas Firbank and sister of the novelist Ronald Firbank. T.96-1963Given by Sir Phillip and Lady Joubert. This ensemble consisting of a coat and a dress, was designed by Andr Courrges in 1965. Made in bias-cut ivory satin, it plunges at the back, clings to the torso and gently flares below the thigh. The earliest American textiles were called homespuns because they were produced in colonial houses. 6 - Jean-Philippe Worth (French, 18561926). Lithograph. Dana Gibson created the iconic Gibson Girl look with extra-wide puffy sleeve blouses paired with a curved corseted waist, a-line skirts, voluminous Gibson hair topped with large flower and feathered hats. Long, simple and clinging evening gowns, made of satin were popular. A pair of immense fern-like fronds are machine-embroidered in furry cream chenille on the skirt, and the cream colour is echoed in floating bands caught in silk georgette bows at the right sleeve and left waist. But, despite the best efforts of fashion designers to be inventive without wasting precious fabric, there was a very limited choice. (Mrs Humphry, Manners for Men, London 1897), UnderpantsDesigner unknown1880-1900Great BritainMachine-knitted silk, with pearl buttons and silk loops for braces, machine-sewnMuseum no. Source: Flickr, Fig. Elbow length gloves were often worn with evening gowns. From 1892, the upper half of the sleeve began to swell and grew wider and wider until 1896. It was important to be dressed appropriately for the occasion. This costume shows how designers of the period lavishly adorned plain cloth with a variety of rich trimmings. Seeling, Charlotte, Neil Morris, Ting Morris, and Karen Waloschek. Her hair is piled in loose waves on top of her head, and is pushed slightly forwards over her forehead., Golfing ensemble (skirt, jacket, belt, cap and club)Frederick BosworthAbout 1908LondonMuseum no. In 1862 Henry Mayhew's London Labour and the London Poor reported that 'the bodies of beaver hats are made of a firm felt wrought up of fine wool, rabbit's hair etc. The coats illustrated here are typical of the 1950s. The prevalent 1930s style was the bias cut. Silk. Each garment, costing between 6 and 13, came with a free Twiggy portrait hanger. 13 - Mr Corbella. It named Biba as the most in shop for gear. The fashion became the dark, somber, and opulent Victorian colors and styles that characterize the textile fabrics from 1850-1900. Men wore three-piece lounge suits with bowler or cloth caps. If you have suggestions or corrections, pleasecontact us. Fashion plate of men's golfing clothes, from the Sartorial Arts Journal, New York, 1901, 1901. This suit sums up the 1930s silhouette with its sleek lines, nipped-in waist, square shoulders, and straight, pleated skirt. In the last years of the century, it was the soft, clinging materials that were chiefly used. Lace and other embellishments were key. From 1886, skirts became less and less trimmed, their drapery fell in plainer lines, but, except in the severer tailor-made dress for country and active wear, the double form of skirt with a draped tunic or overskirt remained until 1889. T.57-1961Given by Lady Hoyer Millar. Worth was known for delicately embroidered dresses in shades of champagne and rose, and this dress is typical of the house's style. Skirts were bell-shaped and lace was a popular decoration (Laver 216). Cloth caps were popular amongst the working class, though trilbies or homburgs were worn by the middle classes. T.168-1960Given by B.W. 1899 flounced long skirt, tucks at the waist. The very early years of the century saw a vogue for light and frothy dresses, and was accompanied byhairstyles that were loose and flowing about the shoulders, often in waves. Their reputation for micro-minis started almost by accident following a shipment of jersey skirts in 1966. This photograph shows the 1950s pop singer, Lita Roza, in fashionable '50s dress.She wears a full, mid-calf length skirt with several petticoats underneath for volume, teamed with a colourful cardigan. Her hair is cut fashionably short, and she wears bright red lipstick. T.172-1969Worn and given by Lady Templer. Trousers were very wide, with turned up hems and sharp creases down the leg. Hemlines of daywear skirts sat around mid-calf length, and the most common necklines were crossover, v-neck and scallop edge, many with lace accents. Stephenson, Andrew. Towards the end of the 1930s, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists, as seen here. This suit was made by Bernard Weatherill during the British fashion boom of the 1960s and is a good example of the styles of that period. It could easily be carried under the arm, making it more convenient for an evening at the opera or theatre than the rigid top hats. Pattern shared the general softening of outline. Here she composed a short-sleeved dress in matt black crepe. With the growth in leisure activities and sporting pursuits during the 1870s and 1880s the Norfolk jacket became acceptable for any form of outdoor exercise, 'being especially suited for bicycling, business, fishing, pleasuring, and the moorland' (Tailor and Cutter, April 1888). Skirts were bell-shaped and lace was a popular decoration (Laver 216). 7841-1938, Here, Baron Welby is shown in formal dress.He is wearing a frock coat, high-fastening waistcoat, starched 'winged' collar, and a top hat., Top hats were still worn by the upper classes for formal wear, though bowler hats and boaters werenow common forgeneral and casualdress. , Photograph, portraitof W.A.S. With evening gowns, made of satin were popular amongst the working class though! Sold his entire opening Collection to an American buyer, tucks at back. Loose tunic-style hats were either small pill-box styles or large brimmed, saucer-like hats reveals fashionable... 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