T.214-1976Worn by Mrs Ralph Dent and given by Mrs M. Webster. Postcard. T.33-1947. Fashion can change rapidly in a short space of time; here is a brief timeline, documenting the evolution of fashion during the 1900s. 19 - Photographer unknown. The 1930s silhouette is therefore slinky and close-fitting. Diamond twill- for apron dresses, tunics, pants, dresses, leg wraps. Our fashion history blog helps you create the look from decades past using vintage, vintage inspired and thrifty clothing, Need help? Shop this and more here. Crepe and crepe georgette were used during the 1920s to create evening gowns and other stunning, drop-waist dresses. Kay, Ossie Clark's sister, wore it as a mini-dress when Clark married Celia Birtwell in 1968. Tweed was a sturdy woollen fabric that appealed to Balenciaga because of the optical illusions created by the two or more colours in the indistinct flecked pattern. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that many teenagers would be able to buy. In the lighter materials, particularly, skirts trimmed with tucks round the skirt from waist to hem, or with apron trimming continuing as a flounce at the hem, were general by 1897. Lithograph. 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'. This dress was made by top London couturier Hardy Amies, but this silhouette permeated into most women's wardrobes via ready-to-wear or home pattern versions. This suit was worn by the husband of the donor. Evening ensembleNabobAbout 1927LondonSilk georgette, the belt embroidered with metal threadMuseum no. Baroness Helen Bachofen von Echt wore it to a party in New York where she danced with Frank Sinatra. Fig. Linen, wool, cotton, rayon, acetate, and nylon were all highly utilized fabrics for these styles, and pastels made their way into the closet. Thick for outer garments. This personal input and strong branding enabled the label to run successfully for three years. Milford-Cottam describes other popular day looks that popped up at sporting events in England: By 1901, men attending spectator sports in the summer were increasingly wearing flannel and linen suits, straw Panama or boater hats, blazers, white trousers, and, of course, the royal-approved homburgs [a type of hat] and tweeds. (39). With the hem well above the knee it was ideally suited to her boyish figure. This is a poster for Hart Schaffner & Marx, who made hand-tailored clothing for men. The grosgrain waist stay (grosgrain is a heavily ribbed silk) bears the label 'Jean Desses 17 Avenue Matignon PARIS'. for apron dresses, tunics, pants, dresses, leg wraps. Mini-dressMary Quant (born 1936)1966LondonWool jerseyMuseum no. If you have suggestions or corrections, pleasecontact us. The effect was enhanced with petticoats that had full backs and smooth fronts (Milford-Cottam 15). This was the time for the two-piece skirt and blouse set to emerge with style. T.71-1982. Design for an evening dressField Rhoades (Marjorie Field)1940sLondonPencil and bodycolour on paperMuseum no. The dress has a simple collar and spotted cravat. Bias cutting (where fabric is cut diagonally to the grain of the fabric) created garments that skimmed over the body's curves. SuitLachasse1948-9LondonWool, silk crepe de chine, and silk jerseyMuseum no. The sitter in this photograph is wearing fashions typical of the 1900s.She is wearing a 'lingerie dress',a type ofdiaphanousgown reminiscent of nightgowns or petticoats.They were madewithlots of frills andtiers, usually in white or light pastel shades, and often decorated with lace, ribbons and pin-tucks. over this is placed the nap prepared from the hair of the beaver.' Light and soft pastel colors were used. In its plainer forms, the dress of these years may appear as a simple style; but in fashionable wear, the apparent simplicity was so overlaid with trimmings and veiled by its materials that the dress took a new character from them in reaction from the severe tailored style of the early 1890s. T.165-1983Worn and given by Baroness Helen Bachofen von Echt. T.198-1970Given by Lord and Lady Cowdray. Women wore wide-brimmed hats and idealized The Gibson Girl, a popular drawing of the time that emulated an hourglass figure. This is because they were made of felted beaver fur wool. 5 - Artist unknown. This dress is typical ofvery early 1900s eveningwear. Designed for the avant-garde New York boutique 'Forward Look', this dress was worn by Princess Stanislaus Radziwill. A variety of aniline dye-colored fabrics were shown at the 1862 London International Exhibitionthe textiles were displayed next to the sticky black coal tar waste from which the dyes were derived. T.45 to B-1942Given by the Board of Trade. Perhaps the most remarkable development in 1960s dress was the dramatic change in menswear. 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. This suit is typical of the 1940s post-war 'New Look'. The skirt is straight and slightly below the knee in length, while the jacket features a nipped in waist, padded hips, and sloping shoulders inspired by Christian Dior's 'New Look' collection of 1947, which moved fashion away from the boxy, military look of the war years. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. This overall, or housedress, was designed to Utility standards. E.1602-1954. As fashion moved into the 1910s, 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. Ensemble (dress and coat)Andre Courrges (born 1923)1965ParisMachine stitched worsted and spandexMuseum no. Afternoon dressLa Samaritaine (retailers)1929ParisSilk georgette, printed with a floral motif, hand and machine sewnMuseum no. Finamore, Michelle Tolini. Also, designers introduced bold prints and colours in an attempt to break away from the minimal adornment of the bias-cut line. The dress has a sleeveless bodice with a low-cut neckline. The skirt is cut as a complete circle. 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 Cocteau was the brother of the French writer and film maker Jean Cocteau. Born in France to Italian parents. By 1906 the vast majority of men dispensed with underwear altogether in the summer months. This fabric would be used to make widow's dress with a plain collar and broad weeper's cuffs made of white muslin and crepe bonnet with a veil. In April 1966, the American news magazine 'Time' published a special edition celebrating London: The Swinging City. Gift of the Brooklyn Museum, 2009; Gift of Mrs. C. Oliver Iselin, 1961. Wool twill- for skirts, jackes, waistcoats and pants. The illustrations were stencilled by hand with watercolour, in a technique known as pochoir. The dress was donated as unsold stock from a smart boutique called 'Merlyn', in London's East End, reputedly patronised by gangsters and their girlfriends. Evening dressMaison LaferriereAbout 1900, ParisFigured satin, decorated with imitation pearls, diamantes and spangles; net is modern replacementMuseum no. Commonly used materials included nylon, rayon, wool and leather. Victorian skirts New full length skirts in the cut and patterns of the Victorian to the Edwardian era. T.190-1979Given by Sir Roy Strong. It epitomises the glamour of 1930s fashion and captures the desirable, slinkylook of the period. This hairstyle was worn under vast, broad-brim hats with low crowns, and adorned all over with flowers, lace, ribbons and feathers. A sizeable silk-weaving industry existed in France from the fifteenth century . As in the 1880s, it differed little from the most elaborate dresses, except in the looser lines of the bodice and a tendency to keep the front-fastening princess form. The bodices of evening dresses usually fastened at the back but sometimes in the front. Evening dressCallot SoeursAbout 1922ParisPrinted silk voile, embroidered with sequins and beads, and trimmed with laceMuseum no. One of the ambitions of dress just now is the rustle. World War II brought with it a rationing on fabric, and typical dress length rose from mid-calf to knee high. 1890 white spat boots, oxfords and pumps. Before the outbreak of First World War in 1914, which all but smothered the market for luxury goods, couturiers created evening clothes that were complex assemblages of luxurious materials and trimmings. T.176-1986Given by Diane Meyersohn. Thanks to special clothing for bicycle riding, hiking and horseback riding, womens clothes were a bit shorter, freer and more comfortable than the preceding Victorian years. - Large plaid for capes and blankets. 1899 flounced long skirt, tucks at the waist. In the early 20th century it replaced the frock coat and the morning coat. He had previously trained alongside Christian Dior at the couture house of Lucien Lelong. During the Edwardian era, it was common for women to wear boned corsets, squeezing waist sizes down to 20 inches or less. Evening dress largely followed the same silhouette, though these gowns were more revealing with very low dcolletage and short sleeves. Suit (skirt and jacket)Hardy Amies (1909-2003)1947LondonTailored worstedMuseum no. Most shoes were high-heeled, even for dancing, necessitating straps over the instep. The loop of tape outside the waistband through which tongues of the braces were passed became general towards the end of the period. The Duke gave this suit to Sir Cecil Beaton, who was then collecting fashionable dress for his 1971 exhibition, 'Fashion: An Anthology'. John Redfern was born in England about 1819. A heavy ribbed silk petticoat supports and defines the skirt. Hutcheson, James Happle, and Heinrich Friedrich Wampen. Lace blouses were particularly popular: It is essential to the conduct of all good wardrobes that they possess a lace bodice, if not two, the one high, the other low (Gentlewoman, 1897). Evening dressPaul Poiret (1879-1944)1933LondonSatin and silk velvet, trimmed with diamante bucklesMuseum no. The (almost) hidden mother, ca. Suit, 1903. It shows a glamorous young woman wearing an elegant fur-trimmed suit, together with the latest cloche hat and bobbed hair. For daywear, the skirt still cleared the ground, until 1898. Long dresses and skirts were no longer restricted to evening wear but were increasingly part of daywear. Evening dress, 1902. Click on the picture or title of the product and you will be redirected to the online merchant selling that item. Evening mini-dressPaco Rabanne (born 1934)1967ParisPlastic pailletes joined with metal wireMuseum no. But during the World War II, sizes changed to 100, 50 . Source: SPARC Digital, Fig. There werent great changes to the prevailing menswear modes, but rather subtle changes in details and accessories. Tucks, very fine tucks round the skirt and bodice, were a particularly characteristic trimming of these years. The target audience for these books were women home sewers or men ordering suits from a traveling tailor. Evening dressCharles FrederickWorth (1825-1895)About 1910, ParisSatin, overlaid with silk net embroidered with silver gilt thread and bugle beads; bodice of ruched silk velvetMuseum no. In 1966 The Observer newspaper said of Cardin's designs: 'His contribution to modern living may be practical but it's rather a shock.' rich fabrics were used to make the dresses. T.21 to B-1960Worn by Miss Heather Firbank. Even her silk stockings were chosen to match her dress. Long strings of pearls and fur collars are among popular accessories of the decade, as were T-bar shoes. 1900s colors for women More practical colors for suits, coats and skirts were traditional dark colors: battleship grey, brown, black, navy blue, beige, and wine. All our dresses will be mounted on the softest of linings, for to rustle we have now no desire (Ladys Realm, 1898-9). 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. Jackets were narrow with small, high lapels. Fashion plate from La Moda Elegante Ilustrada, December 30, 1905, December 30, 1905. Milford-Cottam writes of the clothing worn for these pursuits, For these, many women chose outfits intended to serve both as sporting wear and as serviceable, neat daywear (19). 20 & 21). Summer day dressDesigner unknownAbout 1910FranceWhite lacis (needle lace) and embroidered lawn, with macrame fringe and bobble trim; fastened around the waist with a ribbon beltMuseum no. Thin for tunics, dresses and pants. The war also affected colour schemes; the sombre mood, as well as an increase in funerals and visits to the injured, meant that colours were kept simple and dark. They were usually boned, with five bones at the back, a bone at each side seam and two each side of the front opening. Dress and shortsEmmanuel Ungaro (born 1933)About 1968Machine sewn gabardineMuseum no. T.339-1960Given by Loelia, Duchess of Westminster. Mary Quant and her miniskirts were closely associated with mod fashion, which also covered bold patterns and go-go boots. Plain cotton- for shirts, underdresses and lining. The fabric was probably made in India for the European market. It reached its peak of popularity during the 1840s and 1850s, when mass manufacturing and industrialisation brought fashionable dress within the reach of a much wider section of the population. This is a fashion designfor a black suit, designed by Marjorie Field in the 1940s for the couture firm Field Rhoades of London.It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. Hair was often cropped quite short and set in curls, or kept long and tied in simple chignons or ponytails at the back. 1840s fashion is characterised by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. The lady was a delicate flowers, sweeping her way across the room in her full skirts and ruffling petticoats. Cardin's bold futuristic clothes were largely designed for active young women. Color, too, became paler, except for the strong contrast of black and white, which was fashionable for most of the 1890s. Young boys wore shorts or knickers along with tunics or Russian blouses like the one in figure 22 which allowed for young boys to move freely. The look was one of slight undress compared to the fitted tailoring and corsetry of the Victorian age,worn especially for evening wear and for entertaining at home., Photograph, portraitof Baron WelbyFrederick Hollyer(1837-1933)1901LondonPlatinum printMuseum no. Here American designer Leonard Joseph combines the youthful shape of the mini with an unconventional paper textile. Smart yet practical, this shirtwaister - a kind of tailored shirt-dress - was the only black garment in the designer Utility collection. Colors were light, but embellished with decorations. Summer day dressDesigner unknown1905, Great BritainPrinted striped cotton, with a yoke neck of tucked Broderie Anglaise frills and pin-tucked collar with a tape lace frillMuseum no. Source: The Metropolitan Museum of Art, Fig. 14). Skirts were a little below the knee and straight, worn with boxy jackets and broad, padded shoulders. This flow at the back of the skirt was modified by the addition of secondary gores or wings in the seams in the lower part of the skirt, so that the fullness spread round the hem. The Norfolk jacket was a versatile garment which became an important item in a gentleman's wardrobe. A black afternoon dress with a good label was both a chic choice and a sensible one. Silk velvet- for dress details, jackets, pants and capes. Four sisters, Marie, Marthe, Regina and Josphine, had opened a lace shop in 1888. 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