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FASHION SINCE 1900 PDF, EPUB, EBOOK Valerie Mendes,MS Amy de La Haye | 312 pages | 13 May 2011 | Thames & Hudson Ltd | 9780500204023 | English | London, United Kingdom History of Fashion - - Victoria and Albert Museum Following the war there was a huge sea change in fashion. The post war spirit meant that women demanded greater freedom in their attire. Although relatively conservative, shorter skirts and trousers became fashionable. The real fashion revolution began in with the emergence of the flapper. Even shorter skirts with low waistlines were worn and the hemline rose as far as the knee. Close fitting dresses were fashionable often with no waistlines at all. Small rimless hats were also popular. The Great Depression of the s spelt the end of the flapper era. An interesting development of the s was that many people who previously employed servants were no longer able to. Many women who had previously enjoyed pure leisure were now expected to do work, which meant that they needed more practical clothes during the daytime such as simple skirts and tops. This was really the beginning of evening dresses; women still needed to look elegant after doing the housework and so would change into stylish and exotic dresses for the evening. The Second World War had a similar impact to the previous one on fashion. Austerity was the message as people made do and mended; dress was drab and uniform and clothing was rationed to preserve cloth for war purposes. The shortage of cloth led to shorter skirts and jackets; buttons were also precious and limited to just three per item of clothing. The shortage of stockings brought ankle socks back into fashion. The new Look began in the late s and 50s. Waists were narrow, skirts were full, and shoulders were round. The fashion endured until it was overturned by the s when everything changed. This was the era of the miniskirt, hot pants, bell bottoms, and blue jeans. Subtle changes in silhouette occurred in womenswear until the tubular shape of the s was beginning to emerge by the end of the decade. Lace and other embellishments were key. Menswear continued to see the suit as the primary style, though the tuxedo became increasingly acceptable as formal wear in the evening. Children continued to be dressed like mini-adults and styles such has the sailor suit continued to be popular options. F ashion for women in the first decade of the twentieth century largely followed the fashion of the previous century. The highly structured silhouette of the Gibson Girl was still popular at the beginning of the decade. The simplification and loosening of dress that would come to define the century did not begin to appear until late in the decade and early in the next. These corsets pushed the bust forward and the hips back in an attempt to avoid pressure on the abdomen Laver Tops were blousy and loose, like that in figure 5, the extra fabric helping to emphasize this top-heavy shape. Sleeves were equally dramatic. The effect was enhanced with petticoats that had full backs and smooth fronts Milford-Cottam Modesty was emphasized with day dresses covering the body from the neck to the floor and long sleeves covering the arms. Skirts were bell-shaped and lace was a popular decoration Laver Rich fabrics were used with silk satin and chiffon two popular choices. Colors were light, but embellished with decorations. This can be seen in the bodice of the afternoon dress by Jeanne Paquin Fig. Overall, the prevailing look was that of a mature, sophisticated, and graceful woman, like that seen in the cream silk gown by the House of Worth Fig. Evening dress , Gift of the Brooklyn Museum, ; Gift of Mrs. Oliver Iselin, Source: The Metropolitan Museum of Art. Afternoon dress , Robert G. Olmsted and Constable MacCracken, Dinner dress , ca. Silk, metal, rhinestones. Paul Pennoyer, Silk, rhinestones, metal. The sleeve length was offset by the wearing of long gloves. Where day dresses had blousy, high-collared bodices, evening gowns had more fitted bodices with low-cut necks, like that seen in the elaborate gown from Fig. Sleeves could also be draped and necklines were sometimes off-the-shoulder. While the wealthy woman wore the extravagantly decorated styles of the s, many women were beginning to work outside the home. The suits allowed women to change the bodice or the blouse while keeping the skirt, an economic way to stay fashionable Fig. While the prevailing mode favored the embellished day and evening dresses, women began to emphasize the importance of dressing for the occasion. Milford-Cottam writes,. The wealthiest women had multiple costumes, ranging from theatre and evening gowns to morning and afternoon dresses and practical costumes for hunting, yachting and other active pursuits. The Queen. Dinner dress , Silk, rhinestones. Harry T. Peters, Various sports began to creep into fashion during this period with golf, tennis, cycling and motoring all inspiring their own styles. A British riding habit from this period can be seen in figure As the decade progressed, fashions began to soften. The rigid S-bend shape popular in the early part of the decade gradually straightened out into a more natural shape. The loose tops and oversized sleeves became narrower, as did skirts. Waists were higher and the tubular silhouette that would become popular in the next two decades began to emerge Figs. Milford-Cottam describes how fashion changed throughout the first decade:. When Edward VII came to the throne, the smart woman was pyramidal, her extravagantly full hem sweeping upwards to the apex of a high-dressed hairstyle with a relatively small hat. At the time of his death in May , almost a full decade later, the pyramid was upside-down, with exaggeratedly wide-brimmed hats tapering downwards into narrow hems, with a neatly shod foot providing the point of the new heart-shaped silhouette. As fashion moved into the s, styles were moving quickly towards the slimmed down shapes that would dominate the next two decades, while embellishment and long skirts continued from earlier in the decade. Volker British. Riding habit , Katalog Landesmuseum Mainz Source: Wikimedia Commons. N ot a fashion icon in the strictest sense, Anna Muthesius Fig. What this looked like varied, but themes of practicality, freedom of movement and Art Nouveau patterns were consistent. Aesthetic dress in the s saw influence from Eastern patterns, the Arts and Crafts movement and Greco-Roman loose draped clothing. Aesthetic dress was primarily worn at home, but some women did find a way to incorporate it into their everyday wear. The London department store Liberty is known for its integration of the artistic dress influence. What men wore continued to be ruled by the appropriateness for the event and men could wear suits in varying degrees of formality. Throughout the decade, the most formal option for men was the frock coat during the day and tails in the evening Fig. During the day, the three-piece suit dominated Fig. Morning dress was worn for the most formal daytime occasions Fig. Neckties were essential and allowed for a small pop of color. Though soft-front shirts were introduced during this period, they would not become widespread until the s. Instead, starched shirt-fronts with high collars were worn with the three-piece suit. Though the suit was still the primary daywear, clothing associated with various sporting pursuits was becoming increasingly acceptable as daywear. Hennessey writes,. Woolen jumpers were also popular with fishermen — workwear being another source for fashion innovation. Davidson American. Suit , Clement, The National Library of Ireland. Source: Flickr. Frock Coat April , Wedding Photography , ca. Source: Pinterest. Morning dress , Knickerbockers and tweeds worn on the golf course were also acceptable daywear Fig. Some of these looks can be seen in figure 13, while a homburg hat is featured in figure Besides sporting looks, the lounge suit was another option, with light colored suits especially popular in the summer. Evening wear continued to be very formal, though the tuxedo, which was seen as less formal at the time, was becoming increasingly acceptable. While older, more conservative men continued to wear tails, the tail-less dinner jacket of the tuxedo continued to rise in popularity during the decade. Despite this, tailcoats were still seen as the most formal attire. Astor and forms part of the Cecil Beaton Collection, brought together by the society photographer Sir Cecil Beaton With great energy and determination, Beaton contacted the well-dressed elite of Europe and North America to help create this lasting monument to the art of dress. The Collection was exhibited in , accompanied by a catalogue that detailed its enormous range. Its fresh youthful style conjures up images of summer holidays during the years before the First World War Lounge suit jacket, waistcoat, trousers Designer unknown Great Britain Woven tweed with a vertical stripe; Jacket Lined with twill ; Waistcoat Lined with linen with a narrow black and wider brown stripe Museum no. The lounge suit became popular during the s because of its easy comfort. It originated from the 'lounging jacket', which was cut to fit the waist without a waist seam by means of a long dart from under the arm to the waist. By the s the jacket was worn with matching waistcoat and trousers and had become popular for informal wear. In the early 20th century it replaced the frock coat and the morning coat. The owner of this lounge suit was Sir Max Beerbohm , the English essayist, caricaturist and master of a polished prose style. At the very beginning of thes it was fashionable for women to wear high-waisted, rather barrel-shaped outfits, and tunic- style tops were popular.