Printed cotton- for dresses, skirts waistcoats and lady jackets. The cascade of velvet ribbons and diamant buckles focuses attention on the back. This was also known as the riding coat, or 'Newmarket'. James Laver writes in Costume and Fashion: A Concise History, Even rich women wore tailor-mades in the country or when traveling (221). Manners for Men, by Mrs Humphry ('Madge of Truth'), reported: 'Frequently a silk hat is never seen between Sunday and Sunday. 12), though colors and materials were more varied (though not too daring). Women wore pale foundation and emphasised their eyes with kohl, mascara and false eyelashes. The outfit was often completed with a straw boater. It shows a glamorous young woman wearing an elegant fur-trimmed suit, together with the latest cloche hat and bobbed hair. Day dressPaulPoiret (1879-1944)1924ParisFine flecked worsted, trimmed with rayon braid and tassels, machine stitched and hand finishedMuseum no. Shop this and more here. Finally, lapels and trousers took on exaggeratedly wide dimensions. 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. Though most women would not have been able to afford a dress from a couture house, many would emulate the Princess' style.. It was intended for the Parisian elite, and introduced fashions in colour plates such as this one. mostly for decorating parts of garments, maybe also whole garments. Cocktail dressMme. By the 1850s the coat was shaped halfway between a riding coat and a frock coat. Fox fur stoles and collars were popular, as were small hats embellished with decorative feather or floral details, worn at an angle. Not a fashion icon in the strictest sense, Anna Muthesius (Fig. Day dress and capeMadeleine Vionnet (1876-1975)About 1933ParisWoollen jersey, cape fastened with chrome clips, and leather beltMuseum no. The belt or waistband might also show this folded form. This particular example was made for Mrs James Fraser (ne Miss Grace Isabelle Spencer-Smith), the mother of the donors. Small plaids for tunics, aprondress ect but not super comon. Wool and cotton were used widely, with silk reserved for functions and the upper class. Plain silks- for dresses, jackets, waistcoats, pants and capes. Pants were either ankle-length to the mid-calf, drawers were either just below or just above the knee. Mrs Roy Hudson was a friend of Miss Whistler, Worth's head vendeuse (personal saleswoman). T.176-1986Given by Diane Meyersohn. Menswear continued to see the suit as the primary style, though the tuxedo became increasingly acceptable as formal wear in the evening. This appears this season in larger variety than ever (Queen, 1893). Photography was a novel and exciting development in Victorian days. This photograph of the pop singer Eve Boswell (1922-98) shows her in a typical 1950s evening dress. 1900s Day dress: Edwardian Women wore long-sleeved, high necked long gowns as day dresses, or sometimes skirts or blouses. Summer dressHorrockses Fashion1953EnglandPrinted cottonMuseum no. Table linens of this period were dark heavy tapestries, fringed Turkey Red and white damask cloths, and heavily decorated plush and velvet table toppers. Then, both hand-crafted and mass-produced tailoring was as important as it is today. Plain cotton- for shirts, underdresses and lining. Suits: Panama, broadcloth, tweed, Venetians, serge taffeta, wool, vicuna, voile, chevoit, velvet cord, gabardine, Coats: Wool, broadcloth, kersey, chinchilla, beavercloth, tweed, wool velour, covert, silk velveteen, velvet (evening coats), Nightgowns, robes: Flannel, velour flannelette, twill flannelette, sateen, muslin, white cotton, silk, Aprons: white lawn, gingham, chambray (pink, blue, fawn). DressJoseph Leonard1965New YorkGold paper with sequinsMuseum no. Many men and women wore uniforms. It depicts youthful fashions.. The revers of the jacket bodices, which were much worn, were often long and narrow, and the bodice trimming formed a close, deep V-shape on the front. The prevalent 1930s style was the bias cut. Suit, 1903. Jessop Children, 1905. New York: Fashion Plates: 150 Years of Style. T.173-1964. Silk, rhinestones. T.52-1985Given by Mrs A. Walford. Predominant colors were madders, browns, greens and pinks. For a large part of the decade, the fashionable silhouette continued to be dominated by the S-shape created by a new health corset. This was partly because many fabrics were of a higher quality than we see today so garments lasted longer and could be altered and remade as fashion changed, and partly because clothes were comparatively costly. The textile design is a plain grid pattern. However, this s-shape decreased as the years passed, and by the end of the era, dresses were . Ball gownCharles Frederick Worth (1825-95)About 1900, ParisSilk velvet, trimmed with diamante; petticoat, sleeves and neck edgings are modern replacements inthe style of WorthMuseum no. Coco Chanel championed comfortable and practical clothing for women. Liberty's - a trendsetting fashion store in Regent Street, London - opened their dress department in 1884 under the guidance of the designer and former architect E. W. Godwin (1833-1886), a crusader for dress reform. The silk of the lining changed from the rustling glace or taffeta to softer silk in 1898. Bias cutting (where fabric is cut diagonally to the grain of the fabric), created garments that skimmed over the body's curves. As an Amazon Associate, we earn from qualifying purchases. He led the forefront of the artistic fashion movement away from the curvilinear silhouette of the early 1900s towards a longer, leaner line. 1890 white spat boots, oxfords and pumps. T.339-1960Given by Loelia, Duchess of Westminster. In 1963 the artistic direction of the company was taken over by Michael Goma. T.46&A-1942Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing. Immediately after the Second World War when fabric was scarce, many women sewed extra strips of material onto the bottom of their existing skirts to achieve the fashionable length and fullness. This dress was worn by Miss Heather Firbank (1888-1954), daughter of the affluent Member of Parliament Sir Thomas Firbank and sister of the novelist Ronald Firbank. After a brief career in engineering, he turned to fashion and worked with Balenciaga from 1949 to 1961. 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. Hair was worn with a side parting but slicked back with 'Brill cream'. Gift of the Brooklyn Museum, 2009; Gift of Arthur W. Clement, 1940. T.432-1976Given by Mrs Holland. The suits allowed women to change the bodice or the blouse while keeping the skirt, an economic way to stay fashionable (Fig.7). These standards complied with restrictions and the rationing of raw materials. Blouses (waists): Lawn, ponge, madras, silk (crepe, taffeta, shantung, georgette, china, japan), velvet, cashmere, wool, mohair, linen, velvet, lustre, cambric. Evening wear continued to be very formal, though the tuxedo, which was seen as less formal at the time, was becoming increasingly acceptable. The dress has a simple collar and spotted cravat. Clark was one of Britain's most influential fashion designers of the 1960s and 70s. Evening dressPaul Poiret(1879-1944)1933LondonSatin and silk velvet, trimmed with diamante bucklesMuseum no. He was originally trained by the court dressmaker, Reville. Daniel Milford-Cottam adds in Edwardian Fashion, The most fashionable daywear was often as elaborately trimmed and accessorized as evening wear (16). 22 - Photographer unknown. 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. This simple 'seaside' dress formed part of Miss Heather Firbank's wardrobe. Echoing these concerns, Aesthetic dress of the 1870s rejected the fussy and upholstered look of womens fashion. The bride wears a typical 1930s 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. It was madeto sit on top of the head, bothas a decoration and a way of holding the long veil in place. With a BA in history, her research at Central Saint Martins explored how the body was fashioned in the 1920s. 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. Evening ensembleElsa Schiaparelli (1890-1973)1938LondonRayon marocain, backed with satin, and embroidered with various gilt threads, beads and diamantesMuseum no. Though initially shocking to some, many designers embraced its informality and ease of movement. Norfolk jacketDesigner unknownAbout 1900Great BritainChecked tweed, with sateen and striped cotton lining and buttons of horn, hand- and machine-sewnMuseum no. The dress is made of fine black silk voile and decorated with strass (a brilliant paste used for imitation stones). They were usually boned, with five bones at the back, a bone at each side seam and two each side of the front opening. Here she composed a short-sleeved dress in matt black crepe. Source: Wikimedia Commons. 8 & 9). Dispo's paper dresses were actually made out of a bonded cellulose fibre and could be washed. Privacy Policy (function (w,d) {var loader = function () {var s = d.createElement("script"), tag = d.getElementsByTagName("script")[0]; s.src="https://cdn.iubenda.com/iubenda.js"; tag.parentNode.insertBefore(s,tag);}; if(w.addEventListener){w.addEventListener("load", loader, false);}else if(w.attachEvent){w.attachEvent("onload", loader);}else{w.onload = loader;}})(window, document); The Fashion History Timeline is a project by FITs History of Art Department. The dress consists of five narrow widths of pleated silk hand-sewn into a tube just 47 cm wide. It shows a man in evening dress, with tails and a top hat. But during the World War II, sizes changed to 100, 50 . Wedding photographAbout 1935Museum no. Purple was a typical Biba colour, but when combined with a vibrant yellow zig-zagging print and a short flirty skirt, the effect is dramatic. Illustration for 'The Lady' magazineMarcel Fromenti1950-4EnglandPen and ink on paperMuseum no. Evening dress (bodice and skirt)Gabrielle'Coco' Chanel (1883-1971)1938-9ParisMachine-sewn red grosgrain and red chiffonMuseum no. T.274-1974Given by the designer. 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. Women wore wide-brimmed hats and idealized The Gibson Girl, a popular drawing of the time that emulated an hourglass figure.. see more Milbank, Caroline Rennolds, and Harold Koda. Callot Soeurs was also known for its use of lace and decorated sheer fabrics. A wide sash arranged in folds below the waist emphasised the slenderness of the wearer. Many continued to sport short bobbed hair as they had in the 1920s. 17). The house of Lucile was renowned for its asymmetrical styles, of which this matt black silk crepe dinner dress is a perfect example. Lithograph. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. All clinging materials will be used and even cloth will be of a soft texture (Ladys Realm, 1898-9). Fashion 1900s. T.107:1,2-2003. Various sports began to creep into fashion during this period with golf, tennis, cycling and motoring all inspiring their own styles. This was the blouse. Worth was known for delicately embroidered dresses in shades of champagne and rose, and this dress is typical of the house's style. John Redfern was born in England about 1819. (Mrs Humphry, 'Manners for Men', London 1897). Side saddle riding habit (jacket, skirt, breeches)John Redfern (1853-29)1912, LondonBlack wool flecked with white, lined with pearl grey satin (jacket) and cotton twill (skirt); breeches of woollen jerseyMuseum no. His uncle owned a fur business, which Patou joined. In tune with the times, Mary Quant offered them identities of their own with styles such as this vivid red shift with youthful appeal. The success of her affordable, fashionable designs enabled them to open a series of shops in Kensington, London. The ensemble was worn by Viscountess Brackley, ne Miss Violet Lambton, who became the Countess of Ellesmere (1880-1976). The very early years of the century saw a vogue for light and frothy dresses, and was accompanied byhairstyles that were loose and flowing about the shoulders, often in waves. By the 1870s the jacket was worn with matching waistcoat and trousers and had become popular for informal wear. 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). She married Viscount Ellesmere in the autumn of 1905 in St Margaret's Church, Westminster, London. 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. Source: Wikimedia Commons, Fig. She wore it over a long white crpe dress with a sequin sash matching the jacket (American Vogue magazine, 1 June 1937, pages 52-57, British Vogue, 9 June 1937, pages 54-56). Hair was worn long, with stylised waves and rolls on top of the head. Other popular trends of the decade included cowl neck sweaters and chevron prints. 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. The repetition of curved lines in flapped pockets, cuffs, collar and lapels, along with unusual covered buttons, show a dapper and stylish attention to detail. It named Biba as the most in shop for gear. With rations well and truly over, womens fashion became more luxurious; skirts had pleats and gatherings, and bold colours and patterns remained popular. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. However, this s-shape decreased as the years passed, and by the end of the era, dresses were designed to create an empire line (fitted just below the bust). pellethepoet. The skirt has a minutely pleated yoke that runs across the hips. 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. Along with 'Coco' Chanel he was considered a leading exponent of the androgynous'garon' look, creating smart, tubular, well-tailored clothes. Predominant colors were madders, browns, greens and pinks. JF6897/4. Bings severe self-presentation of 1934 shows an independent, unadorned, determined professional. Milford-Cottam explains the evening options throughout the decade: Evening dress consisted of a black coat and coordinating trousers, often worn with an expanse of crisp, starched white shirt-front and a low-cut waist-coast, which could be in either black, matching the suit, or white to coordinate with the shirt. (41). The breast pocket is stay stitched rather than interlined to economise on fabric. ', Mini-dressBiba (Barbara Hulanicki, born 1936)1969LondonPrinted cottonMuseum no. Soft materials were used such as silk, velvet or wool in dark reds, greens, blues, brown or black. 1900. huckaback: a strong fabric of linen or linen and cotton, sometimes figured, having an uneven surface - produced by alternately crossing the filling threads. Buckles were used ornamentally and there was a revival of the buckle forms of the eighteenth century and the use of surviving eighteenth-century buckles. The 1930s silhouette is therefore slinky and close-fitting, with fluted skirts and features like scoop backs. While the wealthy woman wore the extravagantly decorated styles of the 1900s, many women were beginning to work outside the home. Jean Patou (1880-1936) was born in Normandy, France, the son of a tanner. Sherards version has a bell-like skirt and train made entirely of lace, his trademark fabric. pellethepoet. Balenciaga was renowned in the trade for inspecting and resetting sleeves that were not perfect. DressLucile (Lady Lucy Duff-Gordon, 1863-1935)1910-2, LondonBlack silk crepe, edged with bands of black and cream silk, the neck fitted with machine-made black laceMuseum no. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Kay, Ossie Clark's sister, wore it as a mini-dress when Clark married Celia Birtwell in 1968. Such materials were seen by dress reformers as the healthy alternative to silk, which they claimed trapped harmful chemicals close to the skin. 1910. This is a fashion design depicting a woman in an ice-blue evening dress, designed by Marjorie Field in the 1940s for the haute couture firm Field Rhoadesof77, South Audley Street, London. On the tailor-made cloth dresses and coats and skirts, braiding of all kinds and applique of velvet were the usual trimming, and embroidery also ornamented all materials from cloth to net. The practice came to an end around the time of the First World War. John French (1906-66) The Board of Trade commissioned the design for this jacket, skirt and blouse from the Incorporated Society of London Fashion Designers. Horrockses was a large cotton manufacturing firm, founded in Preston, Lancashire, in 1791, known for weaving high quality household cottons. He was born in Bourne, Lincolnshire, and started working at the age of 12 in a draper's shop in London. The owner of this lounge suit was Sir Max Beerbohm (1872-1956), the English essayist, caricaturist and master of a polished prose style. His voluptuous first collection featured hand-span waists above enormous skirts. Barbara Hulanicki launched the Biba label with her husband John Fitz Simon in 1963, initially selling clothes by mail order through newspaper advertisements. By the 1930s an increasing number of couturiers were attracted to the newly available and sophisticated rayon dress goods. This material was being used for evening dress in 1890, and it became more and more fashionable, particularly for trimmings. Colors were light, but embellished with decorations. Aesthetic dress was primarily worn at home, but some women did find a way to incorporate it into their everyday wear. Photograph, fashion studyBaron de Meyer (1868-1946)1920Museum no. Day dressJean Desss (1904-70)About 1953ParisWoollen tweed, bodice lined with crepe de Chine, and waist stay of grosgainMuseum no. Hutcheson, James Happle, and Heinrich Friedrich Wampen. Separates were popular, especially waist length cardigans. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. She wears light eye make-up and bright red lipstick.She wears casual, youthful dress, inspired by teenage and rock and roll fashions. T.245&A-1974Given by Mrs Leo d'Erlanger. DressHorrockses FashionAbout 1955EnglandPrinted cottonMuseum no. 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). 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. The mingling of mauve and light green, heliotrope and chartreuse, was particularly characteristic for most of the decade. Silk brocades- for dresses, jackets and pants. The fullness was still swept to the center back, but, by 1893, five and a half yards was often given as the usual width for the skirt at the hem. Morning dress was worn for the most formal daytime occasions (Fig. Plain cotton- for shirts, underdresses and lining. T.32-1960Worn by Miss Heather Firbank. This was one of the first Ossie Clark designs for his less expensive Radley label. 3 - Artist unknown. Towards the end of the 1930s, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists, as seen here. The label in this little black dress simply reads 'Lord and Taylor'. This particular example was worn by Sir Roy Strong, a former Director of the Museum. Paul Poiret (1879-1944) was born in Paris. Four sisters, Marie, Marthe, Regina and Josphine, had opened a lace shop in 1888. The Queen. 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. Pair of shoesShaftesbury Shoes Ltd (manufacturers)1940sGreat BritainPlaited leather straps, leather-covered platform sole with circular inset layers and leather-covered heelMuseum no. In 1921 Heather Firbank's clothes were packed into trunks and put into storage, where they remained for the next 35 years. Silk. We usually associate Chanel's name with her practical classic suits, which first appeared in about 1917. Her bosom is low and round in the shape of a puffed 'pouter pigeon', considered the height offashion in the 1900s and especially around 1905. These included singer Sandie Shaw, TV presenter Cathy McGowan, and even the footballer George Best. This suit was worn by the husband of the donor. During the Second World War both hand-crafted and mass-produced tailoring was as important as it is today. Source: The Metropolitan Museum of Art, Fig. Fabrics varied, and included calendared or glazed fabrics of wool, plain or floral printed calicos and muslins, and glazed chintz monochrome or polychrome prints. Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. This day dress is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. Cravats and foulards were popular at the time on blouses as well as dresses. This style was sometimes used for evening dress. The coats illustrated here are typical of the 1950s. This youthful summer dress has a boned petticoat, with a full tulle skirt typical of the 1950s. The start of World War I in 1914 played a big part in the shift of the typical silhouette, and womenswear became more practical as women prepared to enter work. Silk brocades- kirtles, jackets and pants. DesignRoseland Studio (artists) for Willetts & Sons (retailers)1920sLondonPen and ink and pencil on cream cardMuseum no. The line was simple and uncluttered and few trimmings or accessories were worn. The stand-up Nehru style collar became fashionable in the mid 1960s. Silk, rhinestones, metal. Just as girls wore starched dresses, boys wore stiff Eton collars outside their jackets. 2021 London College of Contemporary Arts. The loose tops and oversized sleeves became narrower, as did skirts. Read my quick guide to turning a skirt and blouse into a late Victorian costume. The simple silhouette meant that it could be worn either as a dress or with trousers. Besides sporting looks, the lounge suit was another option, with light colored suits especially popular in the summer. The popularity of the blouse meant a change in the component parts of the tailor-made costume. The flamenco dress was a recurring theme in 1950s cocktail and evening wear. 13 - Mr Corbella. 'Ecarlate' ('Scarlet') cocktail dressChristian Dior (1905-57)1955ParisSilk grosgrain, lined with silk, nylon and organza net, and tulle; withspiral steel'boning' in the bodiceMuseum no. It is attributed to a group of fashion-conscious young men, some of whom were formerly officers in the Brigade of Guards. 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. E.1602-1954. The wearing of this form of dress increased during the 1890s: This we have at least the grace to encourage from year to year . T.394-1989Given by Miss N. Moyer. Flares and bells bottoms were staple trends (especially in the first half of this decade), as were platforms. Ossie Clark was one of Britain's most influential fashion designers of the 1960s and 1970s. Victorian skirts New full length skirts in the cut and patterns of the Victorian to the Edwardian era. 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. 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. Vests and pants were worn next to the skin under the shirt or trousers. The late 1960s celebrity boutique phenomenon saw popular teenage idols launching clothing lines and boutiques. From 1942 onwards some clothes were made under the government Utility Scheme that rationed materials. T.459 to B-1974Given by the Duke and Duchess of Kent. This is a good example of a sheath dress, popular throughout the 1950s. Vests were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered. During World War I (191418), women adopted practical, working clothes and they sometimes wore uniform, overalls and trousers. Inside one of the pockets are a piece of paper giving the monthly rainfall for the year 1900, a stamp, metal pin and a piece of string. ( 191418 ), though the tuxedo became increasingly acceptable as formal wear in summer. 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