Barbara Hulanicki, the designer, recollected in her autobiography, A to Biba: 'The skirts were only 10 inches long. Read our, Learn about the history of fashion from 1840 - 1900, Victoria and Albert Museum, London 2016. T.45 to B-1942Given by the Board of Trade. Mini-dresses were popular with Biba customers in the late 1960s, alongside longer dresses and trousers with wide flares. She is wearing a fashionable cloche hat and sports a bob. Around 1910, leading fashion houses such as Worth created evening dresses with a straight silhouette. The new century did not bring drastic changes in childrens wear. Skirts with handkerchief points were particularly fashionable in the late 1920s. Mary Quant was world-famous for championing the mini-skirt, and in the 1960s her name became associated with the predominantly black Chelsea look, with its beatnik overtones. Simple dresses were teamed with short capes, boleros or jacket, and sequins were a favourite way of adding glamour to an outfit. The navy, red and white ribbon of grosgrain makes reference to Chanel's own love of sailing, and her inspiration from sports. The journal featured articles about theatre, travel and other pursuits of interest to the leisured wealthy, but the main emphasis was always on fashion. Women wore wide-brimmed hats and idealized The Gibson Girl, a popular drawing of the time that emulated an hourglass figure. The bodice is lined with white cotton (with ruffles attached to give fullness at the bust) and has a stiff, silk-faced waistband. Evening dressMaison LaferriereAbout 1900, ParisFigured satin, decorated with imitation pearls, diamantes and spangles; net is modern replacementMuseum no. Fashion at the end of the 1960s was characterised by the abandonment of short and rigid A-line mini-dresses in favour of long and svelte lines, and by the increasing presence of trousers in womens wardrobes. T.21 to B-1960Worn by Miss Heather Firbank. The infiltration of sporting dress into informal styles of clothing shows how social conventions were relaxing in the late 19th century. Flares and bells bottoms were staple trends (especially in the first half of this decade), as were platforms. The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. Sailor suits continued to be popular for boys, as well (Figs. With the hem well above the knee it was ideally suited to her boyish figure. . But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The spring 1947 collection of Christian Dior (1905-1957) caused a sensation and was christened 'The New Look' by Carmel Snow of Harper's Bazaar. 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. T.116toB-1974Worn and given by Evangeline Bruce. This stylised motif became known as 'the cheeses' and was also printed on to clothing labels. 3 - Artist unknown. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. 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). All the seams are double.The dress is short, and has a triangular shape. 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. Dinner dress, ca. Perhaps the most remarkable development in 1960s dress was the dramatic change in menswear. 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. Evening dressJacques Heim1959, ParisSilk organza, with an underdress of silk taffeta and organzaMuseum no. Pastels for daywear continued to expanded into more variety of shades with deeper and lighter hues. This was the name of a prestigious department store on Fifth Avenue in New York. Designed by Elegant Themes | Powered by WordPress. The bodice, however, is still boned (nine bones). By the late 19th century vests were available in a range of colours, including peach, flesh tint, lavender, light blue and heliotrope. Paul Cocteau was the brother of the French writer and film maker Jean Cocteau. But, the skirt of the 1890s was given its characteristic shape, until the last two or three years of the century, mainly by the cutting of the back breadths on the cross and joining them with a seam at center back on the cross cut. In evening dress, a short but extremely full and puffed sleeve, ending at the elbow or just earlier one, spread out sideways instead of rising above the shoulder. The embroidery follows the lines of the printed floral design to enhance the pattern and catch the light. The Board of Trade commissioned the design for this jacket, skirt and blouse from the Incorporated Society of London Fashion Designers. 1905. The little black dress was a classic design. Black shoes and boots were popular for boys, as well. Dresses now had to please the ear as well as the eye. 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. The skirt is made of pleated lustrous silk taffeta. This photograph of the pop singer Eve Boswell (1922-98) shows her in a typical 1950s evening dress. 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. 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 Russell1937London(Coat) Interlined with undyed wool and lined with silk faille; (Dress) Pleated pale pink matt crepe, embroidered with beads and diamanteMuseum no. Evening dresses were often off the shoulder. Dana Gibson created the iconic Gibson Girl look with extra-wide puffy sleeve blouses paired with a curved corseted waist, a-line skirts, voluminous Gibson hair topped with large flower and feathered hats. Source: Wikimedia Commons, Fig. The simple silhouette meant that it could be worn either as a dress or with trousers. Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. A plain neckline can be enlivened with a drape of lace pinned in place with a few sparkling brooches. Balenciaga was renowned in the trade for inspecting and resetting sleeves that were not perfect. The short, semi-circular cape has a scarlet satin lining. This appeared as early as 1893; but, it did not change the skirt line noticeably until 1897, when the fullness was lessened in the upper part of the skirt, which fitted closely over the hips, leaving the still full lower half in a flounced line at the hem. All types of lace were used, and old lace was brought out again for another wearing on dresses and blouses of these years. ', Design for a suitField Rhoades Ltd (Marjorie Field)1940sLondonPencil and bodycolour on paperMuseum no. 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. Jessop Children, 1905. Smoking suitDesigner unknownAbout 1906Great BritainSilk, lined with wool, hand and machine sewnMuseum no. 1800's to 1970's. . The success of the firm was due to the quality of the design of the printed cottons, often commissioned from artists, combined with advanced production methods, which preserved the crispness of the cotton while allowing for frequent washing. A meticulously tailored but perfectly plain suit is transformed by carefully engineered details. Dior often named his collections after letters of the alphabet, and this particular dress comes from the 'Y line'. We are to use a good deal of lace, old lace and new, but the new is made to simulate the old as much as possible (Queen, 1893). It could be single- or double-breasted. DressJean Desss (1904-70)About 1955ParisWool and sun-ray pleated silk taffetaMuseum no. They wore practical clothing that was suitable for work, and many daring modern women took to wearing trousers. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. This elegant gown is typical of 1930s evening attire. T.212:4-1996. Discover the many treasures in the beautiful V&A galleries, find out where events are happening in the Museum or just check the location of the caf, shops, lifts or toilets. This trouser-dress designed by Emilio Pucci in 1968 is typical of Italian fashion.Cut in a luxurious Italian-produced silk jersey, it displays the bright Mediterranean colours which have been Puccis hallmark since the beginning of his career in the mid-1950s. Postcard. T.193&A-1970Given by Lord and Lady Cowdray. Made in bias-cut ivory satin, it plunges at the back, clings to the torso and gently flares below the thigh. This dress and coat are typical of glamorous 1930s eveningwear.The dress is a simple, figure-skimming sheath dress made from satin, and the fur coat accentuates the shoulders. T.57 to B-1962Given by Mrs B. M. Bohener. This hairstyle was worn under vast, broad-brim hats with low crowns, and adorned all over with flowers, lace, ribbons and feathers. The line was simple and uncluttered and few accessories were worn. The silhouette was slim at the hip, accomplished by pleating and smocking the excess fabric. Their hair was decorated with ribbon (Figs. The matching shorts are worn under the dress and are not visible. T.304:1&2-2000. Trousers were very wide, with turned up hems and sharp creases down the leg. 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. Designs came from leather good trades rather than fashion houses. Pullovers were previously worn for informal and sporting occasions but they gradually became integrated into mainstream fashion. The Utility scheme was devised to share and conserve scarce resources, whilst creating practical and stylistically appealing clothing. T.245&A-1974Given by Mrs Leo d'Erlanger. 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. The bodice generally remained a rigid, corset-like form. When he opened his own fashion business in 1966, his architectural background and the current interest in space travel informed his work. Futurist Fashion: Three Manifestos.. One of the ambitions of dress just now is the rustle. Clothes were made with a minimum of fabric, few pleats and no trimmings. Day dress and capeMadeleine Vionnet (1876-1975)About 1933ParisWoollen jersey, cape fastened with chrome clips, and leather beltMuseum no. The shops showed them on Twiggy portrait mannequins, and Twiggy did all the modelling and publicity. The back of the coat shows a slit from waist down to the hem, covered with a panel. Edwardian Fashion History 1900-1910s - Women and Men. 18) with many of the styles found in menswear and womenswear making their way into childrens wear. ', Mini-dressBiba (Barbara Hulanicki, born 1936)1969LondonPrinted cottonMuseum no. Small waist looks were in, achieved with corsets. Thick for outer garmetns. What fabric was used in the 1900s? T.46&A-1942Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing. 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. Haynes and Mrs M. Clark, Fashion photograph for VoguemagazineEdward J. Steichen (1879-1973)1930 (photographed), ca. Tweed or check jackets worn with non-matching trousers were also popular, and open collars were permitted for casual wear. When embarking on an Edwardian era sewing project, it is critical to look at fabrics, colors, and textures to re-create the most authentic outfit possible. 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. Lithograph. Mini-dressBiba (Barbara Hulanicki; born 1936)1967LondonPrinted cottonMuseum no. 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. Some women were married in curtains, bed sheets, and furniture fabrics that were re-purposed. The popularity of the smoking suit shows how sartorial rules were relaxing in the late 19th century. This design is from the packaging company Willetts & Sons, which was based in London from 1910 until the 1960s. Towards the end of the 1930s, however, the fashionable silhouette altered slightly and the prevailing streamlined shape was gradually replaced by wider shoulders and constricted waists. Orange Flowers on Pink Scheurer Fabric Sample, Blue & Gray Stylized Flowers Scheurer Fabric Sample, Pequot Cottons Naumkeag Steam Cotton Co. Pillow Tubing, Ely & Walker Dry Goods Co. Springtime Cotton Printemps Lingerie de Moussaline, Flowers and Birds on Black Scheurer Sample, Blue Flowers & Green Ribbon Scheurer Fabric Sample, Purple Floral Stripe Scheurer Fabric Sample, Pink Floral Stripe Scheurer Fabric Sample, Purple & Blue Bouquets Scheurer Fabric Sample, Pink Roses & Ribbons Scheurer Fabric Sample, Pink Floral Medallion Scheurer Fabric Sample, Indigo w/Chrome Yellow Dots Childs Dress Piece. Rayon, a human-made material known at the time as artificial silk, was one of the first synthetic, chemically-made fabrics, and its popularity catapulted in the 1920s. Conventions in dress applied to informal as well as more formal wear. 7699-1938, The sitterin this photographis a Member of Parliament, and is shown wearing formal businessdress of the 1900s.He is wearing a jacket, waistcoat, high starched 'winged' collar, and sports a fashionable curled moustache.. There is a blue spandex trimming around the neckline, the shoulders, the pockets and the hem. 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. She also studied at Boston University and London College of Fashion. 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. Mansfield, A. D., and Phillis Emily Cunnington. Plain cotton- for shirts, underdresses and lining. Thick for outer garments. T.338-1984Given by Eric Lucking. Sleeves . Children continued to be dressed like mini-adults and styles such has the sailor suit continued to be popular options. 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 1942 the British Board of Trade commissioned ten members of the recently formed Incorporated Society of London Designers to create a collection of regulation day wear under the auspices of the Utility scheme, an austerity measure introduced by the Board of Trade during the Second World War, when clothes were rationed. Stockings were often worn underneath, held up by garters. T.107:1,2-2003. 14). Predominant colors were madders, browns, greens and pinks. the coat and skirt worn with shirt and blouse. T.261-1988Given by Zika Ascher. In 1942, the British Government established the Utility Scheme to ration materials and regulate the production of civilian clothing during the war. Utility Scheme clothes bear a printed stamp reading 'CC41', an abbreviation of the Civilian Clothing Act of 1941. The use of white, underlined here with plastic blue, and the use of heavy worsted, make the shape of this ensemble stand out almost as an architectural object. T.39&A-1960Worn by Miss Heather Firbank. Afternoon dressEdwardMolyneux (1891-1974)1946LondonSilk crepe, with buttonsMuseum no. Evening dressDesigner unknownAbout 1913Great Britain or FranceSilk chine and silk voile, brocaded with metallic threads, and trimmed with mauve satin, diamantes, imitation pearls and bobbin laceMuseum no. Dressing in vintage style clothing for a themed event or personal fashion is our passion. Her blog, Reddy-to-Wear, features articles on fashion and travel, while her writing has been featured on The Fashion Conversation and The Fashion Studies Journal. His suits were highly regarded and commanded high prices. Evening dressMichael Sherard (191098)1958LondonFrench re-embroidered ribbon lace, with taffetaMuseum no. Hair was short at the back and sides, and most men were clean shaven. Indigo Cheddar The grosgrain waist stay (grosgrain is a heavily ribbed silk) bears the label 'Jean Desses 17 Avenue Matignon PARIS'. Photograph, portraitof Princess ColonnaFrederick Hollyer (1837-1933)1900LondonPlatinum printMuseum no. A tailor's label, stitched to the right inside breast pocket, is inscribed with the words, 'Hammond & Co., Ltd., 465 Oxford Street., London Fo 501 Mons. She also created extravagant evening wear such as this sequinned dress and cape. T.55-1979Given by Miss Pennie Smith. 1865 to 1900 Post Civil War fabrics had a variety of designs that included paisleys, stripes, and florals. Until the late 1890s, the heavier cloths satins, richly-figured silks and stiff glace silks were worn, stiffly lined. These women needed something more practical to wear and this came in the form of the tailor-made. These suits were introduced in the late 1800s and both working and wealthy wore them in the 1900s. E.477-2005Given by Paul Williamson. Undervests of natural coloured wool or cellular cotton were also popular, as these fabrics allowed the skin to breathe. Evening dressMariano Fortuny (1871-1949)About 1920VenicePleated satinMuseum no. But during the World War II, sizes changed to 100, 50 . Black shoes were the most acceptable, though gray, brown and tan were acceptable during the day. T.403-1974Given by Mr John Fraser and Mr Michael Sherard. Etherington-Smith, Meredith, and Jeremy Pilcher. Fox fur stoles and collars were popular, as were small hats embellished with decorative feather or floral details, worn at an angle. By the 1890s conventions had become so relaxed that smart young men were seen wearing Norfolk jackets even in the city. Braid manufacturers were among the first bulk buyers of artificial silk, and were then joined by hosiery and underwear manufacturers. This 'space suit' forms part of the Cecil Beaton Collection. The 1890s through 1905 is part of the late Victorian fashion era, otherwise known as the Gibson Girl era and early Edwardian fashion. Children continued to be dressed as mini-adults (Fig. The morning coat originated in the single-breasted tailcoat worn in the early 19th century. . The Duke was acknowledged internationally as the leader of men's fashion. Vogue, Evening dressCharles James (1906-78)1938-9USA or London or ParisPrinted silkMuseum no. Day time shoes featured the low heel walking Oxford. 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