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. However, between the waistline dropped to hip level, obscuring natural curves for a tubular, androgynous look. Young, very fashionable 'flappers' wore their hems at knee level, with neutral coloured stockings and colourful garters. Hemlines drifted between ankle and mid-calf for the duration of the decade. Jewellery was prominent, including large brooches and long strings of pearls. Hair was worn bobbed, sometimes close to the head, and the distinctive cloche hat a close fitting, bell-shaped hat was very popular. Men wore narrow-cut lounge suits, with pointed collars turned down, and plain or simply patterned modern knot ties. Cloth caps were popular amongst the working class, though trilbies or homburgs were worn by the middle classes. Hair was cut very short at the sides, parted severely from the centre or the side and smoothed down with oil and brilliantine, or combed back over the top of the head. This fashion plate is from the journal 'Gazette du Bon Ton'. The journal featured articles about theatre, travel and other pursuits of interest to the leisured wealthy, but the main emphasis was always on fashion. It was published from November to the summer of , and again from January to December The complete run consisted of 12 volumes. It was intended for the Parisian elite, and introduced fashions in colour plates such as this one. The contributors included many prominent artists of the time, and the colour plates anticipated the Art Deco style that was to dominate the s. The illustrations were stencilled by hand with watercolour, in a technique known as pochoir. It shows a man in evening dress, with tails and a top hat. It is a simple and effective image of a tall and elegant man smoking. The only splash of colour is his yellow glove. Despite the simplicity of the image, it communicates glamour. This is a design for the cover of 'Pearson's Magazine'. Henry Haley produced several cover designs for this popular publication in the s. It clearly appealed to a largely female readership. Here Haley uses the image of a woman driver to represent a modern outlook and an independent lifestyle. She is wearing a fashionable cloche hat and sports a bob. The company made paper bags, card boxes, labels and tickets for a range of different clothes stores. Sometimes they employed artists to illustrate these items. This example was drawn by a commercial artist at the little-known Roseland Studio in the s. It shows a glamorous young woman wearing an elegant fur-trimmed suit, together with the latest cloche hat and bobbed hair. Her outfit is tubular with a drop-waist, reflecting the rather androgynous styles of the decade. Such an image was clearly designed to appeal to fashionable customers and to reflect well on the clothes store which used it. It shows a glamorous young woman wearing a fur-trimmed coat in the latest style, together with a cloche hat and bobbed hair. The coat is straight and rather tubular, with a dropped waist, reflecting the androgynous silhouette of the decade. Photograph, fashion study Baron de Meyer Museum no. This fashion study shows two models at a garden table, sporting wide brimmed summer hats over fashionable bobbed hair. Their dresses featured dropped waists and a straight silhouette, typical of the decade, when busts were flattened and curves disguised. Liberty's - a trendsetting fashion store in Regent Street, London - opened their dress department in under the guidance of the designer and former architect E. Godwin , a crusader for dress reform. This coat was especially designed and made for Mrs Hazel Moorcroft. The block-printed design of the lining fabric first appeared in about and was constantly re-issued - most recently in the s. The cloche hat worn with it here is very typical of the s. Evening dress Callot Soeurs About Paris Printed silk voile, embroidered with sequins and beads, and trimmed with lace Museum no. Superb materials and top-quality workmanship combine to create this stunning evening dress. Light-reflecting beads and sequins had long been popular decoration for evening fabrics, but in the s the fashion reached its peak. The embroidery follows the lines of the printed floral design to enhance the pattern and catch the light. This dress was designed by the fashion house Callot Soeurs. The eldest, Marie Madame Gerber , developed the couture side of the business at 9 avenue Matignon, Paris, where it continued until the mid s. The sisters worked with exquisite and unusual materials, including Chinese silks and rubberised gabardine. Callot Soeurs was also known for its use of lace and decorated sheer fabrics. This pair of ladies' evening shoes, in gold kid, is painted and lined with grey kid. The s produced some of the most exciting shoes of the century, with tremendous variety in cut, colour and ornamentation. Most shoes were high-heeled, even for dancing, necessitating straps over the instep. Bright colour mixes reached a peak by Evening ensemble Nabob About London Silk georgette, the belt embroidered with metal thread Museum no. Skirts with handkerchief points were particularly fashionable in the late s. They were forerunners of the longer skirts that became generally accepted by Soft, light-silk fabrics proved ideal for this bias-cut flowing style. Diaphanous silks were usually worn with matching petticoats, or laid over the foundation of the dress. Afternoon dress La Samaritaine retailers Paris Silk georgette, printed with a floral motif, hand and machine sewn Museum no. This below-the-knee day dress made of printed silk chiffon is slightly gathered at a normal waistline on an elastic band. The skirt has a minutely pleated yoke that runs across the hips. There are two sets of fine pleats on the front of the skirt, which flares out slightly towards the knees. The printed pattern of waved bands of massed flower-heads is carefully disposed in all pieces of the dress. On the bodice, sleeves and skirt yoke the bands run diagonally, while on the skirt's bias-cut gores they run horizontally. The minute pin-tucks on the bodice, sleeves and skirt are hand sewn. This design is typical of the years following , when flowing summer dresses in gossamer fabrics with floral prints were popular. Such delicate silks are extremely difficult to handle and sew, demanding a great deal of skill and patience. This sleeveless dress has a low square neckline, which was popular in the the mid s. Its straight bodice is embroidered with a design that reveals the influence of Egyptian patterns. Jean Patou was born in Normandy, France, the son of a tanner. His uncle owned a fur business, which Patou joined. In he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. His career was interrupted by the First World War of , but in he reopened his salon, this time under his own name. His collections continued to be a great success. Throughout the s he also consistently championed the shorter length of skirt that did much to stimulate the demand for stockings. His long-waisted evening dresses with their emphasis on luxurious design and rich decoration were worn by famous actresses, such as Louise Brooks, Constance Bennett and Mary Pickford. In the artistic direction of the company was taken over by Michael Goma. Evening dress suit Charles Wallis Ltd. By the s the full evening dress suit had crystallised into a recognisable and lasting style. It consisted of a tail coat, a white waistcoat and trousers to match the coat. The coat was cut as double-breasted but was always worn open. Changes in fashion did occur, but they affected details such as the width of the lapel or the cut of the trousers. This suit was worn by the husband of the donor. She dated each item in her collection and also sent the accessories that she considered appropriate for each outfit. Mr Rothfield died in He was a slim, elegantly dressed man, who was meticulous about his dress. Dress Jeanne Lanvin Paris Black silk taffeta trimmed with machine- embroidered silk chenille and cream silk georgette bows and bands Museum no. Throughout the s Jeanne Lanvin excelled in the creation of ultra- feminine dresses with fitted bodices and long, full skirts, known as robes de style, of which this evening dress is an example. The black fine silk taffeta dress with boat neckline, and small, capped half-sleeves fastens with poppers down the left side. 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. Paul Poiret was born in Paris. He was one of the most creative fashion designers of the 20th century. He also revived fashion illustration, founded a school for the decorative arts and even diversified into perfume. He led the forefront of the artistic fashion movement away from the curvilinear silhouette of the early s towards a longer, leaner line. His brilliantly coloured, looser clothes, often inspired by the 'orientalist' enthusiasm for Eastern fashions and traditions, were extremely popular. The use of rayon trimmings on this garment is interesting. In spite of the rapid development in the 20th century of man-made fibres, couturiers tended to remain faithful to costly natural fabrics, with the exception of trimmings, such as the braid on this dress. Braid manufacturers were among the first bulk buyers of artificial silk, and were then joined by hosiery and underwear manufacturers. By the s an increasing number of couturiers were attracted to the newly available and sophisticated rayon dress goods. The label in this little black dress simply reads 'Lord and Taylor'. This was the name of a prestigious department store on Fifth Avenue in New York. They imported Paris original haute couture high fashion and excellent copies of French models. They also sold unnamed ready-to-wear American designs. An illustration in the American edition of the fashion magazine Vogue' of 15 April identifies this dress. It was called 'Minuit Sonne' and designed by Drecoll. The dress is made of fine black silk voile and decorated with strass a brilliant paste used for imitation stones. The sleeveless design and low, scooped neck would have allowed the wearer to remain cool during even the most energetic dances of the s. And as she danced, the drifting tunic top and the central drapery of the skirt would have flowed with her. The multi-talented Mariano Fortuny was a painter, theatre designer, photographer, inventor and scientist, although he is best known as a creator of extraordinary fabrics and clothes. In he registered his design based on the Ionic version of the Greek classical garment the chiton for the 'Delphos' dress, of which this glistening black columnar example is a typical representative. The dress consists of five narrow widths of pleated silk hand-sewn into a tube just 47 cm wide. The neck and sleeves are adjusted to fit by concealed draw-strings, while a black rouleau, threaded with Venetian glass beads, laces the outer sleeves. The drop-waist androgyny of the previous decade gave way to a slinky femininity in the s. Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs. During the day, wool suits with shoulder pads, and fluted knee-length skirts were worn. Fox fur stoles and collars were popular, as were small hats embellished with decorative feather or floral details, worn at an angle. Hair was set short and close to the head, often with gentle 'finger waves' at the hairline. Sports and beach-wear influenced fashionable dress, and the sun-tan was coveted for the first time. Men now generally wore three-piece suits for work or formal occasions only. Two-piece suits without a waistcoat and casual day wear were becoming increasingly common, including knitted cardigans, tank-tops, and soft collared or open necked shirts. For the first time it was not obligatory to wear a tie. Trousers were very wide, with turned up hems and sharp creases down the leg. They were belted high at the abdomen. It was common for men to be clean-shaven, and bowler hats were now generally only seen by city businessmen. Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions and emulated aspects of it. The prevalent s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. Bias cutting where fabric is cut diagonally to the grain of the fabric created garments that skimmed over the body's curves. The s silhouette is therefore slinky and close-fitting, with fluted skirts and features like scoop backs. The line was simple and uncluttered and few trimmings or accessories were worn. This evening dress is by Elsa Schiaparelli, who was known for her shock tactics and love of surrealism. Here, Schiaparelli has taken the intimate padding over the breasts which would normally be concealed, and used it to decorate the outside of a severe brown crepe dress. Crepe was very fashionable for both day and evening dresses during this decade. Evening ensemble dress and shoulder cape Gabrielle 'Coco' Chanel , Paris Satin, embroidered with sequins, with satin panels and sashes Museum no. The line was simple and uncluttered and few accessories were worn. We usually associate Chanel's name with her practical classic suits, which first appeared in about She also created extravagant evening wear such as this sequinned dress and cape. The combination of glistening black sequins and scarlet satin panels is very dramatic. The rows of overlapping 'fish-scale' sequins emphasise the supple, falling lines of the outfit. The short, semi-circular cape has a scarlet satin lining. During the first half of the s, evening dresses were designed to wrap women in luxurious, body-hugging sheaths, replacing the short, flat square gowns of the s. Evening gowns were mostly sleeveless, often displaying a bare back or a low neckline and inevitably touching the floor. White or pastel colours, fashionable in the s and early s, soon gave way to stronger, more acidic colours. After championing the modern, sporty and androgynous woman of the s, Chanel successfully ventured into a luxurious and more feminine fashion in the s. Though couture clothing like this was out of most women's reach, it inspired more affordable fashions. Coco Chanel championed comfortable and practical clothing for women. This evening dress, obviously designed for the summertime, is a remarkable example of Chanel's skills in developing elegant sportswear for the evening, creating a simple yet stunning evening dress for the sporty, modern woman of the s. The navy, red and white ribbon of grosgrain makes reference to Chanel's own love of sailing, and her inspiration from sports. Evening ensemble dress and coat Charles James London Bias-cut satin dress , with fur Museum no. This dress and coat are typical of glamorous s eveningwear. The dress is a simple, figure-skimming sheath dress made from satin, and the fur coat accentuates the shoulders. Couturier clothing like this was custom-made for each individual client from the finest materials. Couture influenced the silhouette and style of more affordable fashions, however, and fur was brought within the reach of many women as large fur collars or as stoles or wraps, which were all highly fashionable during the s. This suit sums up the s silhouette with its sleek lines, nipped-in waist, square shoulders, and straight, pleated skirt. Tailor-made outfits were practical yet smart and well suited to town or country wear. Suits like this would have been worn for daywear and for travelling, and would have been worn with a hat and a fashionable fur stole. Evening ensemble dress and coat Peter Russell London Coat Interlined with undyed wool and lined with silk faille; Dress Pleated pale pink matt crepe, embroidered with beads and diamante Museum no. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The prevalent s 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. The s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered. Towards the end of the s, however, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists. Also, designers introduced embellishments like bold prints and surface decorations in an attempt to break away from the minimal adornment of the bias-cut line. This elegant evening ensemble was designed by London couturier Peter Russell. Evening dress Paul Poiret London Satin and silk velvet, trimmed with diamante buckles Museum no. This elegant gown is typical of s evening attire. Made in bias-cut ivory satin, it plunges at the back, clings to the torso and gently flares below the thigh. During the First World War and through to the s many women entered the work force for the first time, and wanted to reflect their new independence in the way they dressed. They wore practical clothing that was suitable for work, and many daring modern women took to wearing trousers. Many continued to sport short bobbed hair as they had in the s. This portrait is of Ilse Bing , one of several leading women photographers in the inter-war period. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in to concentrate on photography. Evening ensemble Elsa Schiaparelli London Rayon marocain, backed with satin, and embroidered with various gilt threads, beads and diamantes Museum no. Towards the end of the s 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 s. This ensemble by couturiere Elsa Schiaparelli features wide padded shoulders with embroidered leaves around the collar to further emphasise the exaggerated shape. Evening ensemble dress and jacket Mainbocher Paris Silk crepe, embroidered with sequins jacket Museum no. The prevalent s style was the bias cut. Bias cutting where fabric is cut diagonally to the grain of the fabric , created garments that skimmed over the body's curves. The s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories. Simple dresses were teamed with short capes, boleros or jacket, and sequins were a favourite way of adding glamour to an outfit. This straight-cut jacket is similar to the one worn by the Duchess of Windsor Mrs Wallis Simpson in her engagement photographs taken by Sir Cecil Beaton Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. Its stark, simple lines suited her elegant, uncluttered style. The bride wears a typical s wedding dress, which features a long train, high-neck and long sleeves, with rather squared shoulders. The wreath is decorated with wax orange blossoms on wire stems, and was a popular wedding accessory of the decade. Day dress and cape Madeleine Vionnet About Paris Woollen jersey, cape fastened with chrome clips, and leather belt Museum no. The dress is cut on the bias - a prevalent s trend, creating garments that skimmed over the body's curves. Simple dresses were teamed with short or long capes, or boleros. Evening dress Madeleine Vionnet About Paris Black silk velvet, with two asymmetric silk georgette streamers Museum no. Haynes and Mrs M. Steichen photographed , ca. Here you can see a dress made of clinging, extravagant and luxurious fabrics. The models' hair is styled close to the head with gentle 'finger waves' along the hairline. The prevalent s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skim over the body's curves. The s silhouette is therefore slinky and close-fitting. The line was simple and uncluttered, with few trimmings or accessories. Towards the end of the s, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists, as seen here. Also, designers introduced bold prints and colours in an attempt to break away from the minimal adornment of the bias-cut line. As a result of the war there were severe fabric shortages, which lasted until the end of the decade. Clothes were made with a minimum of fabric, few pleats and no trimmings. Skirts were a little below the knee and straight, worn with boxy jackets and broad, padded shoulders. Many men and women wore uniforms. From onwards some clothes were made under the government Utility Scheme that rationed materials. They are identifiable by a 'CC41' stamp, which is an abbreviation of the 'Civilian Clothing Act of '. During the war, accessories were important because of their relative affordability; tall platform shoes or sandals, and tall flowery hats were fashionable. Hair was worn long, with stylised waves and rolls on top of the head. In , Christian Dior introduced his 'New Look', which revolutioniseds fashion. Skirts became longer and fuller, and boxy shoulders were softened to become sloping. Waists were cinched and hats grew wide and saucer shaped. During the war, most men wore military uniform of some kind. Hair was short at the back and sides, and most men were clean shaven. Men in civilian clothing were often dressed in lounge suits with broad shoulders, with wide trousers belted high at the abdomen. After many men leaving the armed forces were issued with a 'de-mob' suit, consisting of shirt, tie, double-breasted jacket and loose fitting trousers. The lounge suit dominated men's dress from the s onwards. It was worn at events and in places where in previous decades more formal attire would have been required. By s men were wearing lounge suits with a pullover in place of a waistcoat. Pullovers were previously worn for informal and sporting occasions but they gradually became integrated into mainstream fashion. The Duke was acknowledged internationally as the leader of men's fashion. He rebelled against the stiff formality of dress and became famous for his casual style. Using the best London and New York tailors, he continued to be adventurous in his love of bright colour, strong texture and bold pattern. The Duke gave this suit to Sir Cecil Beaton, who was then collecting fashionable dress for his exhibition, 'Fashion: An Anthology'. The Utility scheme was devised to share and conserve scarce resources, whilst creating practical and stylistically appealing clothing. With its double-breasted cut, peaked lapels and wide straight-legged trousers, this suit is typical of the period. The breast pocket is stay stitched rather than interlined to economise on fabric. The pocket bags and waistband facings are made in cheap quality cotton. Christian Dior launched his couture house on 12 February and became an overnight sensation. His voluptuous first collection featured hand-span waists above enormous skirts. It was christened on the spot by Carmel Snow, editor of American Harper's Bazaar, as the 'New Look', and was the antithesis of masculine wartime fashions. This jacket demonstrates the exaggerated New Look silhouette. The jacket is moulded into an hourglass shape, which is helped by wads of padding and horsehair around the front of the hips. The shoulders are rounded, the bust full, and the waist tiny. Day dress Edward Molyneux , designer for the Utility Scheme London Rayon crepe, with matching composition buttons Museum no. It may have been designed by Edward Molyneux. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of Then, both hand- crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 Civilian Clothing label. When offering this day dress to the Museum in August , Sir Thomas Barlow explained that it conformed 'in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'. This is a good example of a Utility suit. During the Second World War both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board of Trade in to ensure that low and medium quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and the rationing of raw materials. This is a good example of a Utility Suit. It may have been designed by Victor Stiebel. The bloused jacket with square, padded shoulders closely resembles the battledress top of an army uniform. It is Board of Trade pattern no. Dior offered the glamour and romance of full skirts and nipped- in waists to women who were tired of utilitarian clothes with boxy silhouettes, mannish square shoulders and practical short skirts. This intricately cut afternoon dress of black wool, named 'Maxim's', was worn with a black tulle cartwheel hat, long black gloves and simple black court shoes. To emphasise the bust, a large silk velvet bow was set into the low, square neckline and the waist was compressed by a cummerbund-style lower bodice. A heavy ribbed silk petticoat supports and defines the skirt. The dress fastens with a zip down the back. When offering this jacket and skirt to the Museum in August , Sir Thomas Barlow explained that 'they conform in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'. This curvaceous suit has the small waist and wide, padded hips inspired by Christian Dior's instantly popular 'New Look' collection. Though, the square shoulders recall earlier styles and show that this lady may have resisted a complete change in style. Hardy Amies skilfully overcame the continuing shortages and regulations governing the availability and use of materials in the early post-war period. This superbly tailored double-breasted jacket has a nipped-in waist and pockets with deep flaps which curve over and accentuate the hips. The long bias-cut skirt has soft pleats at the front right and the back left, which creates a flattering garment that also economises on fabric. Pair of shoes Shaftesbury Shoes Ltd manufacturers s Great Britain Plaited leather straps, leather-covered platform sole with circular inset layers and leather- covered heel Museum no. This pair of shoes is typical of the mid s, during which time it was fashionable to wear tall platform shoes. Because of war-time shortages, the platform soles were often made out of cork. In keeping with the fashion for height, hair was worn piled high on top of the head, and clothing was narrow with exaggerated padded shoulder. Suit Lachasse London Wool, silk crepe de chine, and silk jersey Museum no. This suit is typical of the s 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 , which moved fashion away from the boxy, military look of the war years. A meticulously tailored but perfectly plain suit is transformed by carefully engineered details. The focus on this jacket is the double-flared panels which draw attention to the hips. The long straight skirt has a central block of kick pleats at the back, which allow ease of movement. The suit is completed by a matching turban-style hat in claret and black, and a hand-embroidered silk blouse in delicate blue-grey. In , the British Government established the Utility Scheme to ration materials and regulate the production of civilian clothing during the war. This overall, or housedress, was designed to Utility standards. It has no more than two pockets, five buttons, six seams, inches of stitching and no superfluous decoration. It is made of a floral printed fabric, an area of textile production in which Britain has long excelled. It is typical of the s, when shoulder pads and full puffed sleeves were fashionable. Skirts were typically narrow, giving dresses a rather top-heavy look. A black afternoon dress with a good label was both a chic choice and a sensible one. Edward Molyneux could be relied on to provide streamlined distinction. This dress has a schoolmistress-like authority and propriety; its covered-up look features a demure high neck, long sleeves and a safe, calf-length skirt. However, Molyneux transformed it into a little black dress with attitude by cutting the matt crepe to skim sensuously over the body's curves and by introducing pleats at salient points. A wide sash arranged in folds below the waist emphasised the slenderness of the wearer. The dress buttons down the back. The dress is typical of the mid to late s, when full skirts and padded or paniered hips were very fashionable. This style was fashionable into the early s, but the hairstyle marks it out as a particularly s model. Here the hair is shown piled high, in curls, on top of the head. In the s 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. The design is signed with the firm's name and probably would have been used as a presentation drawing, for the client to decide which model they wanted to have made. The design is titled 'Model: "Mazurka" ', and a small area of text in pencil describes the colour and fabric of the dress: 'Ice- blue slipper satin braided in white. This is a fashion design for a day suit, designed by Marjorie Field in the s for the couture firm Field Rhoades of London. It depicts a typical mid s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. The design would probably have been used as a presentation drawing, for clients to decide which model they wanted to have made. Shoe Designer unknown s England Leather, punched and stitched Museum no. 20th Century Fashion History: - | The Fashion Folks

This was the era of the miniskirt, hot pants, bell bottoms, and blue jeans. Everything was allowable; midi dress, maxi dress, micro dress, however the mood took you. Then along came punk and another sea change. By the s the fashion scene had calmed down and designer styles became important. Extravagance returned as did haute couture dominated by the fashion houses of Paris and New York with their designs being copied for high street chains. The s saw another turn around as women again embraced more casual clothes. Grunge and hip Hop replaced Punk as the fashion statement with the de rigueur torn jeans, flannel shirts, and baggy pants. Various music cultures are also influential as is the current emphasis on celebrity. This is a guest post by Adam a new Londoner, who has interests in recruitment, all things techy, a passion for travel and a love of fashion. If you want Adam to write you specific content, feel free to message me on Twitter NewburyNewbie. The Best Distressed Jeans for Spring. What's the one thing that every modern woman needs in her closet? Good denim. A nice pair of jeans is a brilliant base for any outfit, no matter the season. Spring, however is the perfect time for you to slip into a pair of distressed jeans so why not give them a try. Packing for a beachside vacation can be a challenge. Whether you're planning to lounge on the shores of St. Barts or explore the eclectic island streets, you're sure to need some versatile and comfortable options. But not to worry — we've got your style needs covered thanks to this fashion guide. To top 3 Sep. So, to be prepared to get back in the fashion game, here are this season's fashion must-haves. Posted in Fashion The Ultimate Guide to Outfit Packing for a Summer Camping Trip We are in the middle of the summer season, which means it is time to bring out your camping gear and head out to the great outdoors. Many of us are more than ready to get out of our houses and spend time under the bright blue sky, exploring by day and stargazing by night. Confused about […] Posted in Lifestyle Blog 3 Tips for Choosing the Right Fragrance Finding the perfect fragrance is a very personal and delicate process. It is not merely a process of smelling as many perfumes as you can find and choosing which scent you like the best. Style and fashion are driving the globe and have become an increasingly integral part of the economy. Fashion houses influence the world, telling us how to dress and what to wear. Posted in Lifestyle Blog. Previous post. Though male fashions did not change as rapidly as women's, his waistcoat is fastened lower on the chest than was fashionable in the s. Reutlinger photographers s England Albumen print Museum no. Photography was a novel and exciting development in Victorian days. Their subjects included scenic views, tourist attractions and works of art, as well as portraits. This photograph shows the actress Henriette Henriot in stylish dress. Her hair is piled in loose waves on top of her head, and is pushed slightly forwards over her forehead. Along with bicycling and croquet, golfing was a very popular sport with women of the s. Special sporting corsets were made so that they could play with some degree of comfort, and masculine inspired fashions were created for the practicalities of time spent outdoors. Sporting ensembles like this were created in warm, tailored tweeds, with skirts that were off the ground and not too voluminous. Summer day dress Designer unknown , Great Britain Printed striped cotton, with a yoke neck of tucked Broderie Anglaise frills and pin-tucked collar with a tape lace frill Museum no. Crisp-looking blue and white dresses such as this were popular for boating and seaside wear. It is decorated with lace, frills and pin-tucks, to give a soft and feminine appearance. The bodice is ruched and draped to createa low, puffed chest shape that was very fashionable in the s, especially around Miss Firbank was young, 'had beauty, and she adorned it with exquisite clothes of a heather colour to complement her name', according to M. Benkovitz in 'Ronald Firbank: A Biography' It features a medieval-style collar and is entirely covered in dramatic sprays of an English wildflower called 'Sweet Cicely' hand-embroidered in yellow and green silk, with petals of white felt. The influence of the Arts and Crafts movement is apparent in this coat, hand-embroidered with sprays of an English wildflower called 'Sweet Cicely' Myrrhis odorata. In the s William Morris and other English artists rejected the dominance of the machine in British art and design. Their attempts to preserve the traditional designs and craftsmanship of textiles, furniture, ceramics and architecture created the Arts and Crafts style. Wild flowers were popular motifs, evoking the simplicity and charm of English country life, now vanishing in the face of urbanisation and the industrial revolution. Bespoke dressmaking was an important feature of their store on Oxford Street and the coat combines the fashionable high collar and full sleeves with the artistic design of the embroidery. This versatile double-breasted coat made of a heavy wool would have been ideal for outdoor wear. At the turn of the century a growing interest in sports and leisure pursuits led to more relaxed clothing for men. Comfortable clothes were needed to ride a bicycle, drive a motor car or play golf. This resulted in a range of informal styles that fed into mainstream fashion:. He has different costumes for walking, riding, driving, visiting, boating, hunting, shooting, golfing, bicycling, tennis, and cricket, dining, smoking, and lounging, football, racing, and yachting, to say nothing of uniform and the Court suit, besides the now developing motor-car costume'. Mrs Humphry, 'Manners for Men', London This suit has two slanting hip pockets with flaps and a small ticket pocket at the waist seam on the right-hand side. Paul Cocteau'. Paul Cocteau was the brother of the French writer and film maker Jean Cocteau. He preferred to purchase his sporting dress in England as he considered it to be the best quality. Mourning dress Designer unknown About Great Britain Wool trimmed with mourning crape and lined with glazed cotton Museum no. Queen Victoria's prolonged mourning for her husband, Prince Albert, made the practice of wearing mourning dress a social norm. Women wore full black mourning garb for one year after losing a husband or close family member, and less strict versions for a further year. Elderly widows often stayed in mourning attire for the rest of their own lives. The practice came to an end around the time of the First World War. The skirt seen here is A-line in shape, typical of the early s. It is trimmed with chevrons of mourning crepe. Double-breasted suit Designer unknown About Great Britain Flannel woven with a thin vertical pin-stripe, with mother-of-pearl buttons, and sleeves lined with cotton Museum no. Light-coloured suits such as this became popular in the s. The matching coat, trousers and waistcoat in pin-striped flannel known as 'dittos' were accepted dress for summer sports and holidays. The outfit was often completed with a straw boater. The striped jacket had originally been worn for cricket, tennis and rowing and it became fashionable for seaside wear during the s. The cut of this jacket is derived from the earlier 'reefer' coat, usually worn for sailing. The infiltration of sporting dress into informal styles of clothing shows how social conventions were relaxing in the late 19th century. Conventions in dress applied to informal as well as more formal wear. It was important to be dressed appropriately for the occasion. One gentlemen's etiquette book wrote:. It may be remarked, however, that it is easy to stultify the whole effect of these, however perfectly they may be 'built' by the tailor, by the addition of a single incongruous article of attire; such as a silk hat or patent boots with a shooting-suit. Mrs Humphry, Manners for Men, London Underpants Designer unknown Great Britain Machine-knitted silk, with pearl buttons and silk loops for braces, machine-sewn Museum no. Vests and pants were worn next to the skin, under the shirt or trousers. Throughout the 19th century drawers had been worn, made of similar materials to the vest, including stockinette, cotton and wool; but by the end of the 19th century the distinction between drawers and underpants was recognised. Pants were either ankle-length to the mid-calf, drawers were either just below or just above the knee. Some underpants were knee-length, to go under clothes for sporting wear: short pants of absorbent stockinette, for example, were worn for cycling. The loop of tape outside the waistband through which tongues of the braces were passed became general towards the end of the period. Many men preferred to have the vest and pants combined in one. These were known as combinations and became very popular in the 20th century. Underpants were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. Underpants of natural coloured wool or cellular cotton were also popular as these fabrics allowed the skin to breathe. Such materials were seen by dress reformers as the healthy alternative to silk, which they claimed trapped harmful chemicals close to the skin. By the late 19th century vests were available in a range of colours, including peach, flesh tint, lavender, light blue and heliotrope. A typical gentleman probably owned several sets of vests and underpants. They were often initialled with the name of the owner so they could be recognised during the laundry process. By the vast majority of men dispensed with underwear altogether in the summer months. Evening dress Jays Ltd. The dress is dominated by the boldly embroidered panels imported from Turkey and made up in London. In style this dress is transitional between the pronounced curved shapes of the early s and the straighter lines with high waists that had become current by about There is some evidence that an earlier dress may have been adapted to suit the tastes of The inside of the bodice has a grosgrain waist stay grosgrain is a heavily ribbed silk with the woven label of Jays Ltd, which bears a taffeta ribbon marked 'Lady Pearson', the name of the wearer. In the early 19th century the top hat was the predominant type of headwear in a gentleman's wardrobe. It reached its peak of popularity during the s and s, when mass manufacturing and industrialisation brought fashionable dress within the reach of a much wider section of the population. During the second half of the century new informal styles, such as the straw boater and soft felt hat, as well as the more formal bowler hat, challenged the predominance of the top hat. By the s the top hat was relegated to more formal occasions when a gentleman would wear a frock or tail coat. Churchgoers still, to a certain extent, affect it, but in these days of outdoor life, bicycling, and so on, the costume worn by men in church is experiencing the same modifications that characterise it in other department. The shape of the top hat appeared at the end of the 18th century. It changed in shape over time and a range of different styles appeared as the century progressed. The gibus or collapsible top hat came into fashion in the s and was often worn with evening dress. It was made of corded silk or cloth over a metal framework which sprung open with a flick of the wrist. 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. Some top hats had ventilation holes in the crown. In the late 18th century and first half of the 19th century top hats were known as 'beavers'. This is because they were made of felted beaver fur wool. In 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. Contact with mercury often had detrimental effects on the hatters and led to the phrase 'mad as a hatter'. By the late 19th century most top hats were made of silk. Evening dress Maison Laferriere About , Paris Figured satin, decorated with imitation pearls, diamantes and spangles; net is modern replacement Museum no. This dress was worn by Princess Alexandra of Denmark the future Queen Alexandra , who was considered to dress with exemplary taste. It is an example of the highest standards of design and dressmaking, utilising the most luxurious materials. Though most women would not have been able to afford a dress from a couture house, many would emulate the Princess' style. Norfolk jacket Designer unknown About Great Britain Checked tweed, with sateen and striped cotton lining and buttons of horn, hand- and machine-sewn Museum no. The Norfolk jacket was a versatile garment which became an important item in a gentleman's wardrobe. It was originally worn by the Rifle Corps in the Volunteer Movement of and was adapted for shooting costume during the s. It was initially known as the 'Norfolk shirt' and was at first strictly reserved for country wear. With the growth in leisure activities and sporting pursuits during the s and s 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 Golfing attire was particularly colourful, as this extract from Golf by Horace Hutchinson suggests: In the matter of Norfolk jackets and knickerbockers, spats and particularly coloured stockings, checks and stripes, the golfer is a bird of bright and varied plumage. This example was probably worn for general country wear. Inside one of the pockets are a piece of paper giving the monthly rainfall for the year , a stamp, metal pin and a piece of string. By the s conventions had become so relaxed that smart young men were seen wearing Norfolk jackets even in the city. The Norfolk jacket was often made of Harris tweed and homespuns. It was frequently teamed up with matching knickerbockers and a soft cap such as a deerstalker. Its distinctive features were a box pleat at the centre back and another passing down each forepart. It also had a belt made of the same material. Women wore close-fitting versions of the jacket for sports, country wear and even fashionable dress. The jacket also appears in illustrations for the dress of young boys from onwards. Vest Designer unknown Great Britain Machine-knitted silk, with silk placket and pearl buttons, hand- and machine-sewn Museum no. Vests became fashionable during the s and were often described as 'undershirts'. Men had previously worn under-waistcoats for extra warmth. Vests and pants were worn next to the skin under the shirt or trousers. By a range of styles was available, including ventilated waistcoats of lambswool with perforations under the arms, silk undershirts and vests made of lambswool. Vests were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. Undervests of natural coloured wool or cellular cotton were also popular, as these fabrics allowed the skin to breathe. Ball gown Charles Frederick Worth About , Paris Silk velvet, trimmed with diamante; petticoat, sleeves and neck edgings are modern replacements in the style of Worth Museum no. There is a train, but no bustle. It was made by Charles Frederick Worth , a celebrated Parisian couture dressmaker. He was born in Bourne, Lincolnshire, and started working at the age of 12 in a draper's shop in London. Eight years later he moved to Paris, where he opened his own fashion house in He was soon patronised by the Empress Eugenie and her influence was instrumental to his success. His clothes, admired for their elegance and fine workmanship, became an important symbol of social and financial advancement. Summer day dress Designer unknown Great Britain Printed striped cotton, with a yoke neck of tucked Broderie Anglaise frills and pin-tucked collar with a tape lace frill Museum no. The bodice is ruched and draped to create a low, puffed chest shape that was very fashionable in the s, especially around Travelling gown Designer unknown , Great Britain Woollen face cloth, trimmed with braid and velvet, and inserted with panels of net and machine-made lace Museum no. Pastel colours combined with cream were greatly favoured by fashionable Edwardians. This costume shows how designers of the period lavishly adorned plain cloth with a variety of rich trimmings. It has an alternative matching jacket, a pair of white kid shoes trimmed with ribbon, and white silk stockings, which are not shown in the image. This society wedding was recorded in The Queen, The Lady's Newspaper on 4 November 'the bride travelled in a blue cloth costume trimmed with Irish lace and braid and a hat to match'. This report was accompanied by a sketch showing the wedding-gown, travelling costume and bridesmaids' dresses. The smoking jacket was a short, easy- fitting coat, cut in the style of a lounge jacket. It was a distinctive garment since it was often quilted and decorated with silk cord or braid frogging. It could be single- or double-breasted. Soft materials were used such as silk, velvet or wool in dark reds, greens, blues, brown or black. This smoking jacket and matching trousers appear to have been made out of handkerchief silk as the pattern is not continuous. The fabric was probably made in India for the European market. The popularity of the smoking suit shows how sartorial rules were relaxing in the late 19th century. The smoking jacket was often worn in place of the dinner jacket for an informal evening at home. It was worn with day trousers, evening trousers and sometimes as in this example with matching easy-cut trousers. The trousers on this suit are adjusted with a buckle at the back, but trousers could also be secured by a girdle at the waist like pyjama trousers. The smoking jacket was still popular in the early 20th century. In the Austin Reed catalogue announced an updated version of the smoking jacket, named the television jacket. This did not become a widespread fashion as by this date few men felt the need to wear a special garment for watching television or smoking. During this decade, frilly, puffed blouses and fluted skirts continued to be popular. 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. During World War I —18 , women adopted practical, working clothes and they sometimes wore uniform, overalls and trousers. This hairstyle was worn under vast, broad hats with shallow crowns, heavily trimmed with flowers, ribbons and feathers. Towards the end of the decade, younger women sported short bobs. The three-piece lounge suit was commonly worn, but from to the end of the decade, many men were photographed in military uniform. Hair was worn parted at the side or the middle. Older men sported beards, but younger men wore moustaches or went clean-shaven. Hats reached an immense size in the early 20th century. This very fashionable example from is made of a fine black straw. It has an outsize crown, which would have been supported by the piled-up hairstyles of the time. Long hat-pins would have secured the hat to the hair. Hats were often lavishly trimmed, and with its mass of purple cotton artificial flowers, this is no exception. A scene such a this showing fashionably dressed women out walking with their dogs, or with friends, was a favourite subject for the photographer Lartigue. Many of his photographs from this period document high fashion - the women he chose to photograph were the wealthy and well-to-do, dressed in the latest fashions, wearing furs and extravagant hats trimmed with feathers. These women are also wearing the fashionable 'hobble' skirt - a long skirt that cinches at the lower leg and ankle. A stroll in a public park was a favourite pastime for the leisured classes, and women especially took it as an opportunity to display their wealth and taste. Dress Lucile Lady Lucy Duff-Gordon, , London Black silk crepe, edged with bands of black and cream silk, the neck fitted with machine-made black lace Museum no. The house of Lucile was renowned for its asymmetrical styles, of which this matt black silk crepe dinner dress is a perfect example. Set into a high waist, the bias-cut skirt is softly swathed over the left hip and the hem is extended into a triangular train. The cross-over bodice has a plunging V neck fitted with a machine-made black lace, while bands of cream and black silk decorate the neck and cuffs. The dress is a half- mourning dress, meaning that it was worn in the later stages of mourning. Mourning etiquette was well controlled and what could be worn at each stage was rigidly prescribed. Sparks, Esq. It depicts youthful fashions. The man's suit is less formal than those of previous decades. His blazer is shorter than long Victorian frock coats, and resembles a modern 3-piece suit. His collar is not starched up, but is turned down over his tie. His dancing partner wears a dress typical of the decade - a long tunic-style top, belted at the waist over a relatively slim ankle-length skirt. Day dress Designer unknown England Linen, with silk organza collar and cuffs and silk twill bow Museum no. This simple 'seaside' dress formed part of Miss Heather Firbank's wardrobe. The dress has a simple collar and spotted cravat. Cravats and foulards were popular at the time on blouses as well as dresses. They were inspired by earlier masculine styles in neckwear. In August The Queen magazine described 'the prettiest style of Robespierre collar, finishing with a Latin Quartier cravat of blue and white birds-eye spot silk'. In Heather Firbank's clothes were packed into trunks and put into storage, where they remained for the next 35 years. This collection forms an invaluable record of a stylish and wealthy woman's taste between about and It was called 'Lady of Fashion: Heather Firbank and what she wore between and '. Dress John Redfern , London Museum no. The high-waisted black cashmere kimono-like gown is trimmed with striking notes of purple and a wide draped purple sash of silk crepe. 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. The gown wraps over and fastens along the left front with tiny press-studs under a line of blind buttonholes with pendant buttons. Evening dress Designer unknown About Great Britain or France Silk chine and silk voile, brocaded with metallic threads, and trimmed with mauve satin, diamantes, imitation pearls and bobbin lace Museum no. Before the outbreak of First World War in , which all but smothered the market for luxury goods, couturiers created evening clothes that were complex assemblages of luxurious materials and trimmings. Costume skirt and jacket John Redfern About London Wool flannel with black velvet and silk lining Museum no. This elegant grey flannel two-piece ensemble is called a 'costume'. Coat-and-skirt ensembles such as this would not have been considered suits until after the First World War. During the early s, fashionable women wore slim skirts and neatly fitted blouses, often under quite loosely fitted coats and jackets. This outfit would have been worn as a walking suit. This is a typical example of a gentleman's morning suit. In the early years of the 20th century it would have been worn as everyday dress by professional and business gentlemen, as well as for formal occasions. It was said to have been worn at the donor's wedding by her father. The morning coat originated in the single-breasted tailcoat worn in the early 19th century. This was also known as the riding coat, or 'Newmarket'. By the s the coat was shaped halfway between a riding coat and a frock coat. It was usually single-breasted and was known as the 'cutaway', as the fronts sloped away elegantly to the broad skirts behind. After the First World War the morning suit was gradually superseded by the lounge suit for everyday wear, though it continued to be worn by older men. Around , leading fashion houses such as Worth created evening dresses with a straight silhouette. Their impact depended on the juxtaposition of colours and a variety of luxurious and richly decorated fabrics. On this garment, vivid velvet pile is set against light-reflecting beadwork, and the triple-tiered matt net overskirt covers the sheen of the trained satin skirt. The pillar-like look exemplified by this dress replaced the exaggerated curves of the early s. It also shows how designers broke the strong vertical emphasis by creating overskirts with horizontal lines. The bodice, however, is still boned nine bones. Charles Frederick Worth was a celebrated couture dressmaker in Paris. After working for various haberdashers and silk mercers, he left for Paris in In he went into partnership with a Swedish businessman, Otto Bobergh, and opened his own house. Obtaining made-to-measure clothes from his house was a symbol of social and financial success. They were appreciated for their beauty, elegance and fine workmanship. Day dress Designer unknown About England Museum no. This garment reveals the fashionable elements of dress immediately before World War I The line is straight and the cut especially of the cross-over draped bodice is intricate. Rows of non-functional tiny buttons were frequently used as decorative motifs in this period. The bodice is lined with white cotton with ruffles attached to give fullness at the bust and has a stiff, silk-faced waistband. It was not made by one of the top houses, for it is probably a copy by a good dressmaker of a Paris model. Side saddle riding habit jacket, skirt, breeches John Redfern , London Black wool flecked with white, lined with pearl grey satin jacket and cotton twill skirt ; breeches of woollen jersey Museum no. Stewart and Mrs I. The construction of riding-habits is a highly specialized branch of the tailor's art. Because riding-habits are subject to considerable stress, the emphasis throughout is on firm and accurate construction. Seams that take strain and might rub are lined and reinforced with black cotton, and buttons are backed with cotton. John Redfern was born in England about In the s he began designing beautifully constructed and practical tailored garments to meet the needs of women engaging in various sports, from yachting and tennis to archery and riding. His designs were adopted by royalty, actresses and fashionable women for everyday wear as well as for sports. He closed his fashion houses in They were resurrected in , but closed again in Summer day dress Designer unknown About France White lacis needle lace and embroidered lawn, with macrame fringe and bobble trim; fastened around the waist with a ribbon belt Museum no. Mrs J. It has wide, inset panels of lacis patterned with a meandering leaf stem at the front, back and sleeve tops to complement the light fabric. An inner net bodice fastens at the centre front with a row of minute lawn-covered buttons and loops. The fashion current between about and for enormous hats was ridiculed in the popular press. However, fashionable women even suffragettes continued to wear these extravagant creations. False hair pads 'transformations' were often used, and the hats were anchored with long pins stuck through the hat and the real and false hair safety guards shielded the sharp hat-pin points. The dress was given to the Museum by the Hon. 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. However, between the waistline dropped to hip level, obscuring natural curves for a tubular, androgynous look. Young, very fashionable 'flappers' wore their hems at knee level, with neutral coloured stockings and colourful garters. Hemlines drifted between ankle and mid-calf for the duration of the decade. Jewellery was prominent, including large brooches and long strings of pearls. Hair was worn bobbed, sometimes close to the head, and the distinctive cloche hat a close fitting, bell-shaped hat was very popular. Men wore narrow-cut lounge suits, with pointed collars turned down, and plain or simply patterned modern knot ties. Cloth caps were popular amongst the working class, though trilbies or homburgs were worn by the middle classes. Hair was cut very short at the sides, parted severely from the centre or the side and smoothed down with oil and brilliantine, or combed back over the top of the head. This fashion plate is from the journal 'Gazette du Bon Ton'. The journal featured articles about theatre, travel and other pursuits of interest to the leisured wealthy, but the main emphasis was always on fashion. It was published from November to the summer of , and again from January to December The complete run consisted of 12 volumes. It was intended for the Parisian elite, and introduced fashions in colour plates such as this one. The contributors included many prominent artists of the time, and the colour plates anticipated the Art Deco style that was to dominate the s. The illustrations were stencilled by hand with watercolour, in a technique known as pochoir. It shows a man in evening dress, with tails and a top hat. It is a simple and effective image of a tall and elegant man smoking. The only splash of colour is his yellow glove. Despite the simplicity of the image, it communicates glamour. This is a design for the cover of 'Pearson's Magazine'. Henry Haley produced several cover designs for this popular publication in the s. It clearly appealed to a largely female readership. Here Haley uses the image of a woman driver to represent a modern outlook and an independent lifestyle. She is wearing a fashionable cloche hat and sports a bob. The company made paper bags, card boxes, labels and tickets for a range of different clothes stores. Sometimes they employed artists to illustrate these items. This example was drawn by a commercial artist at the little-known Roseland Studio in the s. It shows a glamorous young woman wearing an elegant fur-trimmed suit, together with the latest cloche hat and bobbed hair. Her outfit is tubular with a drop-waist, reflecting the rather androgynous styles of the decade. Such an image was clearly designed to appeal to fashionable customers and to reflect well on the clothes store which used it. It shows a glamorous young woman wearing a fur-trimmed coat in the latest style, together with a cloche hat and bobbed hair. The coat is straight and rather tubular, with a dropped waist, reflecting the androgynous silhouette of the decade. Photograph, fashion study Baron de Meyer Museum no. This fashion study shows two models at a garden table, sporting wide brimmed summer hats over fashionable bobbed hair. Their dresses featured dropped waists and a straight silhouette, typical of the decade, when busts were flattened and curves disguised. Liberty's - a trendsetting fashion store in Regent Street, London - opened their dress department in under the guidance of the designer and former architect E. Godwin , a crusader for dress reform. This coat was especially designed and made for Mrs Hazel Moorcroft. The block-printed design of the lining fabric first appeared in about and was constantly re-issued - most recently in the s. The cloche hat worn with it here is very typical of the s. Evening dress Callot Soeurs About Paris Printed silk voile, embroidered with sequins and beads, and trimmed with lace Museum no. Superb materials and top-quality workmanship combine to create this stunning evening dress. Light-reflecting beads and sequins had long been popular decoration for evening fabrics, but in the s the fashion reached its peak. The embroidery follows the lines of the printed floral design to enhance the pattern and catch the light. This dress was designed by the fashion house Callot Soeurs. The eldest, Marie Madame Gerber , developed the couture side of the business at 9 avenue Matignon, Paris, where it continued until the mid s. The sisters worked with exquisite and unusual materials, including Chinese silks and rubberised gabardine. Callot Soeurs was also known for its use of lace and decorated sheer fabrics. This pair of ladies' evening shoes, in gold kid, is painted and lined with grey kid. The s produced some of the most exciting shoes of the century, with tremendous variety in cut, colour and ornamentation. Most shoes were high- heeled, even for dancing, necessitating straps over the instep. Bright colour mixes reached a peak by Evening ensemble Nabob About London Silk georgette, the belt embroidered with metal thread Museum no. Skirts with handkerchief points were particularly fashionable in the late s. They were forerunners of the longer skirts that became generally accepted by Soft, light-silk fabrics proved ideal for this bias-cut flowing style. Diaphanous silks were usually worn with matching petticoats, or laid over the foundation of the dress. Afternoon dress La Samaritaine retailers Paris Silk georgette, printed with a floral motif, hand and machine sewn Museum no. This below-the-knee day dress made of printed silk chiffon is slightly gathered at a normal waistline on an elastic band. The skirt has a minutely pleated yoke that runs across the hips. There are two sets of fine pleats on the front of the skirt, which flares out slightly towards the knees. The printed pattern of waved bands of massed flower-heads is carefully disposed in all pieces of the dress. On the bodice, sleeves and skirt yoke the bands run diagonally, while on the skirt's bias-cut gores they run horizontally. The minute pin-tucks on the bodice, sleeves and skirt are hand sewn. This design is typical of the years following , when flowing summer dresses in gossamer fabrics with floral prints were popular. Such delicate silks are extremely difficult to handle and sew, demanding a great deal of skill and patience. This sleeveless dress has a low square neckline, which was popular in the the mid s. Its straight bodice is embroidered with a design that reveals the influence of Egyptian patterns. Jean Patou was born in Normandy, France, the son of a tanner. His uncle owned a fur business, which Patou joined. In he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. His career was interrupted by the First World War of , but in he reopened his salon, this time under his own name. His collections continued to be a great success. Throughout the s he also consistently championed the shorter length of skirt that did much to stimulate the demand for stockings. His long-waisted evening dresses with their emphasis on luxurious design and rich decoration were worn by famous actresses, such as Louise Brooks, Constance Bennett and Mary Pickford. In the artistic direction of the company was taken over by Michael Goma. Evening dress suit Charles Wallis Ltd. By the s the full evening dress suit had crystallised into a recognisable and lasting style. It consisted of a tail coat, a white waistcoat and trousers to match the coat. The coat was cut as double-breasted but was always worn open. Changes in fashion did occur, but they affected details such as the width of the lapel or the cut of the trousers. This suit was worn by the husband of the donor. She dated each item in her collection and also sent the accessories that she considered appropriate for each outfit. Mr Rothfield died in He was a slim, elegantly dressed man, who was meticulous about his dress. Dress Jeanne Lanvin Paris Black silk taffeta trimmed with machine-embroidered silk chenille and cream silk georgette bows and bands Museum no. Throughout the s Jeanne Lanvin excelled in the creation of ultra-feminine dresses with fitted bodices and long, full skirts, known as robes de style, of which this evening dress is an example. The black fine silk taffeta dress with boat neckline, and small, capped half-sleeves fastens with poppers down the left side. 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. Paul Poiret was born in Paris. He was one of the most creative fashion designers of the 20th century. He also revived fashion illustration, founded a school for the decorative arts and even diversified into perfume. He led the forefront of the artistic fashion movement away from the curvilinear silhouette of the early s towards a longer, leaner line. His brilliantly coloured, looser clothes, often inspired by the 'orientalist' enthusiasm for Eastern fashions and traditions, were extremely popular. The use of rayon trimmings on this garment is interesting. In spite of the rapid development in the 20th century of man-made fibres, couturiers tended to remain faithful to costly natural fabrics, with the exception of trimmings, such as the braid on this dress. Braid manufacturers were among the first bulk buyers of artificial silk, and were then joined by hosiery and underwear manufacturers. By the s an increasing number of couturiers were attracted to the newly available and sophisticated rayon dress goods. The label in this little black dress simply reads 'Lord and Taylor'. This was the name of a prestigious department store on Fifth Avenue in New York. They imported Paris original haute couture high fashion and excellent copies of French models. They also sold unnamed ready-to-wear American designs. An illustration in the American edition of the fashion magazine Vogue' of 15 April identifies this dress. It was called 'Minuit Sonne' and designed by Drecoll. The dress is made of fine black silk voile and decorated with strass a brilliant paste used for imitation stones. The sleeveless design and low, scooped neck would have allowed the wearer to remain cool during even the most energetic dances of the s. And as she danced, the drifting tunic top and the central drapery of the skirt would have flowed with her. The multi-talented Mariano Fortuny was a painter, theatre designer, photographer, inventor and scientist, although he is best known as a creator of extraordinary fabrics and clothes. In he registered his design based on the Ionic version of the Greek classical garment the chiton for the 'Delphos' dress, of which this glistening black columnar example is a typical representative. The dress consists of five narrow widths of pleated silk hand-sewn into a tube just 47 cm wide. The neck and sleeves are adjusted to fit by concealed draw-strings, while a black rouleau, threaded with Venetian glass beads, laces the outer sleeves. The drop-waist androgyny of the previous decade gave way to a slinky femininity in the s. Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs. During the day, wool suits with shoulder pads, and fluted knee-length skirts were worn. Fox fur stoles and collars were popular, as were small hats embellished with decorative feather or floral details, worn at an angle. Hair was set short and close to the head, often with gentle 'finger waves' at the hairline. Sports and beach-wear influenced fashionable dress, and the sun-tan was coveted for the first time. Men now generally wore three-piece suits for work or formal occasions only. Two-piece suits without a waistcoat and casual day wear were becoming increasingly common, including knitted cardigans, tank-tops, and soft collared or open necked shirts. For the first time it was not obligatory to wear a tie. Trousers were very wide, with turned up hems and sharp creases down the leg. They were belted high at the abdomen. It was common for men to be clean-shaven, and bowler hats were now generally only seen by city businessmen. Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions and emulated aspects of it. The prevalent s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. Bias cutting where fabric is cut diagonally to the grain of the fabric created garments that skimmed over the body's curves. The s silhouette is therefore slinky and close-fitting, with fluted skirts and features like scoop backs. The line was simple and uncluttered and few trimmings or accessories were worn. This evening dress is by Elsa Schiaparelli, who was known for her shock tactics and love of surrealism. Here, Schiaparelli has taken the intimate padding over the breasts which would normally be concealed, and used it to decorate the outside of a severe brown crepe dress. Crepe was very fashionable for both day and evening dresses during this decade. Evening ensemble dress and shoulder cape Gabrielle 'Coco' Chanel , Paris Satin, embroidered with sequins, with satin panels and sashes Museum no. The line was simple and uncluttered and few accessories were worn. We usually associate Chanel's name with her practical classic suits, which first appeared in about She also created extravagant evening wear such as this sequinned dress and cape. The combination of glistening black sequins and scarlet satin panels is very dramatic. The rows of overlapping 'fish-scale' sequins emphasise the supple, falling lines of the outfit. The short, semi-circular cape has a scarlet satin lining. During the first half of the s, evening dresses were designed to wrap women in luxurious, body-hugging sheaths, replacing the short, flat square gowns of the s. Evening gowns were mostly sleeveless, often displaying a bare back or a low neckline and inevitably touching the floor. White or pastel colours, fashionable in the s and early s, soon gave way to stronger, more acidic colours. After championing the modern, sporty and androgynous woman of the s, Chanel successfully ventured into a luxurious and more feminine fashion in the s. Though couture clothing like this was out of most women's reach, it inspired more affordable fashions. Coco Chanel championed comfortable and practical clothing for women. This evening dress, obviously designed for the summertime, is a remarkable example of Chanel's skills in developing elegant sportswear for the evening, creating a simple yet stunning evening dress for the sporty, modern woman of the s. The navy, red and white ribbon of grosgrain makes reference to Chanel's own love of sailing, and her inspiration from sports. Evening ensemble dress and coat Charles James London Bias-cut satin dress , with fur Museum no. This dress and coat are typical of glamorous s eveningwear. The dress is a simple, figure-skimming sheath dress made from satin, and the fur coat accentuates the shoulders. Couturier clothing like this was custom-made for each individual client from the finest materials. Couture influenced the silhouette and style of more affordable fashions, however, and fur was brought within the reach of many women as large fur collars or as stoles or wraps, which were all highly fashionable during the s. This suit sums up the s silhouette with its sleek lines, nipped-in waist, square shoulders, and straight, pleated skirt. Tailor-made outfits were practical yet smart and well suited to town or country wear. Suits like this would have been worn for daywear and for travelling, and would have been worn with a hat and a fashionable fur stole. Evening ensemble dress and coat Peter Russell London Coat Interlined with undyed wool and lined with silk faille; Dress Pleated pale pink matt crepe, embroidered with beads and diamante Museum no. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The prevalent s 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. The s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered. Towards the end of the s, however, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists. Also, designers introduced embellishments like bold prints and surface decorations in an attempt to break away from the minimal adornment of the bias-cut line. This elegant evening ensemble was designed by London couturier Peter Russell. Evening dress Paul Poiret London Satin and silk velvet, trimmed with diamante buckles Museum no. This elegant gown is typical of s evening attire. Made in bias-cut ivory satin, it plunges at the back, clings to the torso and gently flares below the thigh. During the First World War and through to the s many women entered the work force for the first time, and wanted to reflect their new independence in the way they dressed. They wore practical clothing that was suitable for work, and many daring modern women took to wearing trousers. Many continued to sport short bobbed hair as they had in the s. This portrait is of Ilse Bing , one of several leading women photographers in the inter-war period. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in to concentrate on photography. Evening ensemble Elsa Schiaparelli London Rayon marocain, backed with satin, and embroidered with various gilt threads, beads and diamantes Museum no. Towards the end of the s 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 s. This ensemble by couturiere Elsa Schiaparelli features wide padded shoulders with embroidered leaves around the collar to further emphasise the exaggerated shape. Evening ensemble dress and jacket Mainbocher Paris Silk crepe, embroidered with sequins jacket Museum no. The prevalent s style was the bias cut. Bias cutting where fabric is cut diagonally to the grain of the fabric , created garments that skimmed over the body's curves. The s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories. Simple dresses were teamed with short capes, boleros or jacket, and sequins were a favourite way of adding glamour to an outfit. This straight-cut jacket is similar to the one worn by the Duchess of Windsor Mrs Wallis Simpson in her engagement photographs taken by Sir Cecil Beaton Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. Its stark, simple lines suited her elegant, uncluttered style. The bride wears a typical s wedding dress, which features a long train, high-neck and long sleeves, with rather squared shoulders. The wreath is decorated with wax orange blossoms on wire stems, and was a popular wedding accessory of the decade. Day dress and cape Madeleine Vionnet About Paris Woollen jersey, cape fastened with chrome clips, and leather belt Museum no. The dress is cut on the bias - a prevalent s trend, creating garments that skimmed over the body's curves. Simple dresses were teamed with short or long capes, or boleros. Evening dress Madeleine Vionnet About Paris Black silk velvet, with two asymmetric silk georgette streamers Museum no. Haynes and Mrs M. Steichen photographed , ca. Here you can see a dress made of clinging, extravagant and luxurious fabrics. The models' hair is styled close to the head with gentle 'finger waves' along the hairline. The prevalent s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skim over the body's curves. The s silhouette is therefore slinky and close-fitting. The line was simple and uncluttered, with few trimmings or accessories. Towards the end of the s, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists, as seen here. Also, designers introduced bold prints and colours in an attempt to break away from the minimal adornment of the bias-cut line. As a result of the war there were severe fabric shortages, which lasted until the end of the decade. Clothes were made with a minimum of fabric, few pleats and no trimmings. Skirts were a little below the knee and straight, worn with boxy jackets and broad, padded shoulders. Many men and women wore uniforms. From onwards some clothes were made under the government Utility Scheme that rationed materials. They are identifiable by a 'CC41' stamp, which is an abbreviation of the 'Civilian Clothing Act of '. During the war, accessories were important because of their relative affordability; tall platform shoes or sandals, and tall flowery hats were fashionable. Hair was worn long, with stylised waves and rolls on top of the head. In , Christian Dior introduced his 'New Look', which revolutioniseds fashion. Skirts became longer and fuller, and boxy shoulders were softened to become sloping. Waists were cinched and hats grew wide and saucer shaped. During the war, most men wore military uniform of some kind. Hair was short at the back and sides, and most men were clean shaven. Men in civilian clothing were often dressed in lounge suits with broad shoulders, with wide trousers belted high at the abdomen. After many men leaving the armed forces were issued with a 'de-mob' suit, consisting of shirt, tie, double-breasted jacket and loose fitting trousers. The lounge suit dominated men's dress from the s onwards. It was worn at events and in places where in previous decades more formal attire would have been required. History of Women's Clothing From to Today

The centre of fashion was Paris and its haute couture creations were highly desirable among the upper classes. After the accent tended to move away from curves; flatter busts and slimmer hips became desirable. Skirts lost their bustles and trains and the hemlines creped further upwards. However during the First World War from to it was no longer considered right to follow fashion. 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. Everything was allowable; midi dress, maxi dress, micro dress, however the mood took you. Then along came punk and another sea change. By the s the fashion scene had calmed down and designer styles became important. Extravagance returned as did haute couture dominated by the fashion houses of Paris and New York with their designs being copied for high street chains. The s saw another turn around as women again embraced more casual clothes. Grunge and hip Hop replaced Punk as the fashion statement with the de rigueur torn jeans, flannel shirts, and baggy pants. From the conservative society of the early s to the progressive and eclectic world of the late s. During the 20th century the pace of change occurred by years, and sometimes months. Society changed the way we lived, and we changed society. The first decade of the s lit the spark of flame. In practice, it means that the first years of the new century were slow in progress, compared to the rest of the century and more similar to the 19th century. The socioeconomic differences were distinct, even though the industrial revolution and labour movements endangered the position of the upper class. Fashion began to be consumed at a higher pace and the early years of the s is where the transition from tailored clothes to shops and warehouses began. As mentioned, the early 20th century was defined by a conservative fashion in combination with nature. The colors were often in sweet pastels or a traditional set of a white blouse and a black skirt. The conservative fashion took its expression by high collars, long sleeves and sometimes gloves. One should look as natural as possible, with the assistance of something unnatural, ofc. The early s saw a development of sports and social events such a tea parties. Social skills for women had for long been considered as one of the most important quality a woman could possess, this partly remained during the early years of the s as the old society still ruled. The silhouette still underlined some oversized shoulders, but with a tighter and more defined skirt that followed. This included shirts and ties and darker, more neutral colors colors associated to men and serious work. This was the first step of a more masculine fashion that would follow for decades to come! If men refused to give women their right, the least thing women could do was to steal their clothes — right? The tea gowns were used for dinner parties and social events at home. They had a high collar, though lower neckline for the evening, and often a mini-trail. The sleeves and the bust were often in focus with over dimension of rich details as ruffles and lace. The silhouette was of course in the shape of an S, with corsets to help. It was first in the 20th century tea gowns were considered socially acceptable to wear outside the home. Before, they were considered to intimate and informal. Except the tea gown, another common set of clothes was the Edwardian blouse and a maxi-skirt to go with it. The blouse was often white, with a rich detail life by the use of lace. The collar was high and the sleeves oversized, following the trendy style of the tea gowns. Often wider by the shoulder and more narrow by the wrists. The clothes were accompanied by hats, gloves and umbrellas, with the latter being both an accessory and function. The restricted makeup of the Victorian era was still leading the beauty ideals. Even though the doe eyes were not as heavily emphasized, women should look natural and healthy. With the growing interest for sports, one should look crisp and be a child of nature. This meant pale skin, rosy cheeks and natural red lips. The T-shape of the face with eyes and eyebrows making the upper part should be straight and narrow. The eyebrows were kept rather natural and often done rather low and close to the eyes. This created a rather serious and concerned look and created a shadow over the eyes. To be noted though, wearing notable makeup was only accepted if you were an actress. If you wore makeup that was distinct, you could be mistaken for a prostitute. As for the hair, the complete ideal was a fluffy updo. Not completely like a bun we know it today, but more a big bun covering the head see right. This fluffy hairdo was often accompanied by a large hat. The haircolor that was idealized, was dark blond with a slight touch of ginger. Also, dark brown was popular! Even though the early years of the 20th century owed its fashion to the centuries before, the leading star of the decade would be Paul Poiret that would open up for the fashion we have today. Poiret, released women from corsets and opened up for the silhouette of the Empire fashion again. With inspiration from East Asia he introduced bright colors, patterns and clothes to Western fashion. He also launched runway shows, perfumes, the concept of a fashion house and collections with a storyline. Read more about Poiret here! As in midi skirt, sweaters and cardigans! The s were the last steps of old society and the first steps of the new life that awaited people. Out with the old and in with the new! Such an interesting read! I find it fascinating that even after all those years, the 80s embraced the same puffy shoulder, though with a bit more structure and corsets are having a major moment in fashion now. We seem to always go back and pull from the past. I also find it quite interesting that it was a man who liberated women from the ridiculous wardrobe restrictions they had to endure daily with all the opposition women faced from men in general during those times. I wonder how he was viewed and respected amongst other men of his time. We owe Fashion Week and all to him tbh. Such a great article, beautiful, thanks so much for sharing and I hope you have a wonderful weekend ahead! I mean, men looked down at women as they did when they opposed the societal norms and blamed it on the gender. But when a man opposed it, he was probably seen as an idiot? Not sure how they viewed him. But with his success, he ought to have at least some cred for what he did! I feel like living now is high maintenance with all the beauty and shopping we have to worry about. But I bet it was something back then with all the layers of clothing and limited options they had to express themselves. A very interesting read! Thanks for sharing!! Adi xx fancycorrectitude.

| Fashion History Timeline

As in midi skirt, sweaters and cardigans! The s were the last steps of old society and the first steps of the new life that awaited people. Out with the old and in with the new! Such an interesting read! I find it fascinating that even after all those years, the 80s embraced the same puffy shoulder, though with a bit more structure and corsets are having a major moment in fashion now. We seem to always go back and pull from the past. I also find it quite interesting that it was a man who liberated women from the ridiculous wardrobe restrictions they had to endure daily with all the opposition women faced from men in general during those times. I wonder how he was viewed and respected amongst other men of his time. We owe Fashion Week and all to him tbh. Such a great article, beautiful, thanks so much for sharing and I hope you have a wonderful weekend ahead! I mean, men looked down at women as they did when they opposed the societal norms and blamed it on the gender. But when a man opposed it, he was probably seen as an idiot? Not sure how they viewed him. But with his success, he ought to have at least some cred for what he did! I feel like living now is high maintenance with all the beauty and shopping we have to worry about. But I bet it was something back then with all the layers of clothing and limited options they had to express themselves. A very interesting read! Thanks for sharing!! Adi xx fancycorrectitude. You did an amazing job concisely explaining the careful transition from the old to the new. As I was reading, I kept wondering who in the world would be considered our modern day Poiret? Have we transitioned into completely utilitarian and athletic dress? Everything goes? Curious about your thoughts on it. But perhaps not something that have pushed the boundaries of fashion to something completely new, or with a clear breaking point. I know that people thought Gianni Versace was amazing in the — once in a lifetime — kind of thing. As for fashion today. A lot of ripped jeans, boyfriend jeans, loose shirts, bandana scarves, flowy dresses, sweaters and pantsuits. The average girl has a blouse with statement sleeves, tight jeans, sneakers and a leather jacket. I can say now, as I live with our fashion today, that the style 10 years ago is hideous. It was kind of conservative indeed! But still more liberal than what it had looked like earlier! Wow what a beautiful and informative post!! It is so important to understand the history of fashion! I will save this post and I hope a lot of girls will read this post as well! I love your fashion histories! Violet Roots Instagram. Aww, thank you love! Do so, thank you for the love! I love your history posts, and this one is not disappointing! I feel like everything prior to the s looks very conservative and never something I would wear. Especially with pants and the flapper style! I totally love Downton Abby for that as you see fashion transition throughout the decades as they go into the 20s. Downton Abbey did a great job changing costume as the years went on! Madalynn rated it really liked it Apr 19, HeYang Xu rated it really liked it Oct 11, Atria rated it really liked it Apr 03, Ayomide Ayoola rated it really liked it May 10, Chris rated it really liked it Jan 15, Tayron Banks rated it really liked it Sep 27, Sarah rated it it was amazing Jan 04, Ugne rated it it was amazing Mar 01, Louise rated it it was amazing Apr 13, Michele Devereux Lis rated it really liked it Mar 06, Bunny rated it really liked it Jul 08, Siddhi Jain rated it it was amazing Jan 14, Caroline rated it really liked it Jan 14, Tia rated it it was amazing Jul 04, Hazel Fung rated it it was amazing Mar 06, Sammy rated it liked it Jan 08, There are no discussion topics on this book yet. Readers also enjoyed. About Valerie D. Valerie D. Books by Valerie D. Escape the Present with These 24 Historical Romances. You know the saying: There's no time like the present In that case, we can't Read more Trivia About Fashion Since 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. Milford-Cottam explains the evening options throughout the decade:. He continues to explain that the bow tie would be coordinated with the waistcoat, with white ties and waistcoats seen as more formal. Like womenswear, hats and gloves continued to be worn. Black shoes were the most acceptable, though gray, brown and tan were acceptable during the day. Menswear would further stall in the following decade due to the First World War. Children continued to be dressed as mini-adults Fig. Themes found in fashion for both boys and girls included light colors and stiffly starched material. For girls, light colors and lace, like in womenswear, were popular choices. Young girls wore dresses to their knees embellished with lace on the bodice and stiffly starched material Figs. For less formal wear, girls might wear pinafore dresses over blouses and their clothing tended to be much simpler than their adult counterparts. Along with the dresses, girls wore black stockings and shoes Fig. In the winter, they might wear lace up boots. Like women, girls wore gloves with their outfits: kidskin in the winter and crochet in the warmer months. Their hair was decorated with ribbon Figs. Portrait of two children with dolls in a garden , Portrait of Marjory Bryson as a little girl, Queensland , ca. The almost hidden mother , ca. Jessop Children , Cabinet card. Edwardian Children , ca. Like young girls, boys wore long stockings to cover up the rest of their leg. Older boys wore suits that followed their adult counterparts. Black shoes and boots were popular for boys, as well. Just as girls wore starched dresses, boys wore stiff Eton collars outside their jackets. Sailor suits continued to be popular for boys, as well Figs. Similar themes were seen in the best clothes of well-off Edwardian children, whose spotlessly laundered, elaborate white frocks, coats and sailor suits advertised how their parents and nurses had both money and time to dedicate to maintaining their attire. Even for young children, clothing had to the ability to give an insight to their wealth and class. Have a primary source to suggest? Contact us! Also see the 20th-century overview page for more research sources With a BA in history, her research at Central Saint Martins explored how the body was fashioned in the s. A self-proclaimed museum nerd, she has a keen interest in fashion museums and volunteered at the Fashion and Textile Museum in London. She has also worked at the National Portrait Gallery in London. Tweets by FITfashionstory. Fashion Icon: Anna Muthesius Accessed December 30, Hennessey, Kathryn. London: Dorling Kindersley, Costume and Fashion: A Concise History. Milford-Cottam, Daniel. Edwardian Fashion. Oxford: Shire Publishing, Turner, Grahame. Our Everyday Life. Victoria and Albert Museum. Historical Context. Wikipedia: Timeline Entries. Compartment Couture: New York City Department Stores Part 2 , , , 19th century , 20th century , thematic essays. The Delineator. 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