Jacques Heim (1899-1967) began to extend his parents' establishment, which specialized in furs, into a couture house in 1920. Many continued to sport short bobbed hair as they had in the 1920s. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The only splash of colour is his yellow glove. Soft, light-silk fabrics proved ideal for this bias-cut flowing style. Maison LaferriÃ¨re was frequented by aristocrats and others of great wealth, who admired its exquisite designs and fine workmanship. Then, both hand-crafted and mass-produced tailoring was as important as it is today. 7699-1938, The sitterÂ in this photographÂ is a Member of Parliament, and is shown wearing formal businessÂ dress of the 1900s.Â He is wearing a jacket, waistcoat, high starched 'winged' collar, and sports a fashionable curled moustache.Â. In 1858 he went into partnership with a Swedish businessman, Otto Bobergh, and opened his own house. The illustrations were stencilled by hand with watercolour, in a technique known as pochoir. Wedding photographAbout 1935Museum no. 1. Fashion is the economy’s high-wire act, and its designers are the odds-defying trapeze artists of the industry. Baroness Helen Bachofen von Echt wore it to a party in New York where she danced with Frank Sinatra. They channel their visions into namesake lines, revive old houses, and build total lifestyle brands. The flamenco dress was a recurring theme in 1950s cocktail and evening wear. The late 1960s celebrity boutique phenomenon saw popular teenage idols launching clothing lines and boutiques. The draped fabric knot is inspired by 19th-century dress, and is typical of Dior's historicism. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. Photograph of fashion modelsJohn French (1906-66)1960sLondonJohn French Archive, V&A JF6745/3. The trends, dresses, corsets, makeup, hairstyles, and where to buy. Dior often named his collections after letters of the alphabet, and this particular dress comes from the 'Y line'. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. Undervests of natural coloured wool or cellular cotton were also popular, as these fabrics allowed the skin to breathe. T.363,363-1974Given by Mr John Fraser. In the late 18th century and first half of the 19th century top hats were known as 'beavers'. T.173-1964. 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. It was these greatcoats that influenced the cut of the midi and maxi. Bright colour mixes reached a peak by 1925. Evening dress suitCharles Wallis Ltd.1923, LondonWoollen cloth, with silk trimming and liningMuseum no. The smooth silhouette of this dress is formed by underpinnings and petticoats. Four Portraits of Halston, Andy Warhol, 1975, Private Collection . The originators were probably influenced at first by their familiarity with the customary civilian dress for Guards officers, which consisted of a bowler hat, a double-breasted overcoat known as a 'British warm', a striped shirt with white collar and pin-stripe trousers. It is a simple and effective image of a tall and elegant man smoking. This was referred to as the “plume boom” in fashion, as it became popular to wear real feather in hats. Terms in this set (14) Paul Poiret. Fashion Designer. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. Hemlines drifted between ankle and mid-calf for the duration of the decade. Lounge suit (jacket, waistcoat, trousers)Designer unknown1918-20Great BritainWoven tweed with a vertical stripe; (Jacket) Lined with twill ; (Waistcoat) Lined with linen with a narrow black and wider brown stripeMuseum no. In 1914 he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. DressCharles Creed (1909-66, designer), for theÂ Utility Scheme1942LondonRayon crepe, with buttonsMuseum no. also invented the hobble skirt. As a result of the war there were severe fabric shortages, which lasted until the end of the decade. The wholesale price was 15 shillings. This was the name of a prestigious department store on Fifth Avenue in New York. SuitBernard Weatherill1966LondonWoolMuseum no. sk8thing. However, there was a great interest in the glamor of the wealthy as well as in the glamor portrayed by Hollywood. Photograph, portraitÂ of Princess ColonnaFrederick Hollyer (1837-1933)1900LondonPlatinum printMuseum no. It is attributed to a group of fashion-conscious young men, some of whom were formerly officers in the Brigade of Guards. HousedressUtility Scheme1942LondonPrinted cottonMuseum no. Fahion in 1900-1909 Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. They continued to wear face shadowing wide brimmed hats. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered. The Collection was exhibited in 1971, accompanied by a catalogue that detailed its enormous range. In History. He showed slim, straight skirts and insisted on fewer undergarments. In 1956 the Austin Reed catalogue announced an updated version of the smoking jacket, named the television jacket. Some underpants were knee-length, to go under clothes for sporting wear: short pants of absorbent stockinette, for example, were worn for cycling. Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. Ossie Clark was one of Britain's most influential fashion designers of the 1960s and 1970s. She married Viscount Ellesmere in the autumn of 1905 in St Margaret's Church, Westminster, London. Embroidered velvet coatMarshall & Snelgrove Ltd (retailers)1895-1900LondonEmbroidered velvet, satin and laceMuseum no. The 1970s introduced fashion ideas and trends that eventually became staple wardrobe items. Chanel started in fashion after failing to find work as a singer. This suit comprises a fitted jacket and slim-fitting skirt with a kick pleat at the back. One of Crawford’s widely influential pieces was a white organdy dress with ruffle adornments. 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. Day dressEdward Molyneux (1891-1974, designer) for the Utility Scheme1942LondonRayon crepe, with matching composition buttonsMuseum no. For the first time it was not obligatory to wear a tie. By the 1880s the top hat was relegated to more formal occasions when a gentleman would wear a frock or tail coat. Clothing became increasingly unisex as men and women shopped at the same boutiques for similar items. Its lace decoration is in a style that was particularly fashionable around 1900, but by the 1930s, when the dress was thrown away, the latest Christening robes were often much shorter than this and made of synthetic fabrics that were easier to iron. The eldest, Marie (Madame Gerber), developed the couture side of the business at 9 avenue Matignon, Paris, where it continued until the mid 1930s. DressHorrockses FashionAbout 1955EnglandPrinted cottonMuseum no. E.291-1954. All the seams are double.The dress is short, and has a triangular shape. Photograph of Joan ReganHarry Hammond (1920-2009)1950sGreat BritainHarry Hammond Collection. From 1942 onwards some clothes were made under the government Utility Scheme that rationed materials. Below we have listed some influential fashion designers of the 1920s. This evening mini-dress in black crepe was designed by Mary Quant for her Ginger Group collections in 1967-1968. Fashion: 150 Years Couturiers, Designers, Labels The War of the Worlds - Krieg der Welten Wir vom Jahrgang 1950 - Kindheit und Jugend (Jahrgangsbände): 70. With the hem well above the knee it was ideally suited to her boyish figure. 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. T.10-1982Given by Marion Kite. His collections continued to be a great success. Hair was short at the back and sides, and most men were clean shaven. The 1950s continued the late 1940s style with very full skirts, cinched waists and sloping shoulders. Dress and shortsEmmanuel Ungaro (born 1933)About 1968Machine sewn gabardineMuseum no. On the bodice, sleeves and skirt yoke the bands run diagonally, while on the skirt's bias-cut gores they run horizontally. The smoking jacket was a short, easy- fitting coat, cut in the style of a lounge jacket. 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. 13 October 1825, British. T.21 to B-1960Worn by Miss Heather Firbank. T.421 to H-1977Given by Lady Alice Egerton. AndrÃ© Courreges was born in France in 1923. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories. Around 1910, leading fashion houses such as Worth created evening dresses with a straight silhouette. 1900s womens fashion – In the Edwardian era January 2, 2016. The retro look quickly faded in favor of the revolutionary designs of Paul Poiret. Lounge suitTrimmingham (tailors)1940London or BermudaWoven wool check (Glen Urquhart or Prince of Wales check)Museum no. The Duke was acknowledged internationally as the leader of men's fashion. The Board of Trade commissioned the design for this jacket, skirt and blouse from the Incorporated Society of London Fashion Designers. Its fresh youthful style conjures up images of summer holidays during the years before the First World War (1914-1918). It was called “La belle epoque” in France, which means “the beautiful age”. Paul Cocteau was the brother of the French writer and film maker Jean Cocteau. Crisp-looking blue and white dresses such as this were popular for boating and seaside wear. The smoking jacket was often worn in place of the dinner jacket for an informal evening at home. 1890-1900 Fashion. Designers are the celebrities of the fashion industry. Cocktail dresses gained a new popularity after the Second World War. Accessories 1900-1910 1910-1920 During this era women started to get 'bob' haircuts. T.25-2007. She was daughter of the affluent Member of Parliament Sir Thomas Firbank and sister of the novelist Ronald Firbank. Jean Patou. T.198-1970Given by Lord and Lady Cowdray. T.60-1942Given by the President of the Board of Trade. This suit sums up the 1930s silhouette with its sleek lines, nipped-in waist, square shoulders, and straight, pleated skirt. 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. High-waisted with broad lapels and sometimes belts, they reached to the mid-calf for the midi and to the ankles for the maxi. Dresses with pencil or full skirts were seen in either plain fabrics or floral prints. Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. The traditional brogue employs circles and dots born along the lines of the shoe's construction, emphasising the stitching, and as a prominent field pattern on the toecap. Photograph of Eve BoswellHarry Hammond (1920-2009)1950s, Great BritainHarry Hammond Collection. This is a fashion designÂ for a black suit, designed by Marjorie Field in the 1940s for the couture firm Field Rhoades of London.Â It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. Elizabeth Taylor, … Soft materials were used such as silk, velvet or wool in dark reds, greens, blues, brown or black. This resulted in a range of informal styles that fed into mainstream fashion: 'A man's wardrobe is now almost as varied as a woman's. Evening dressJays Ltd. (designers)About 1908LondonSatin, with silk panels embroidered with silver-gilt strip, coil, thread, spangles, pearls and diamantes, and trimmed with velvet, with boned bodice; net is modern replacementMuseum no. Here you can see a dress made of clinging, extravagant and luxurious fabrics. Long, simple and clinging evening gowns, made of satin were popular. Her bosom is low and round in the shape of a puffed 'pouter pigeon', considered the height ofÂ fashion in the 1900s and especially around 1905. The combination of glistening black sequins and scarlet satin panels is very dramatic. T.43-1942Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing, Design for a suitField Rhoades Ltd (Marjorie Field)1940sLondonPencil and bodycolour on paperMuseum no. T.48-1965Worn and given by the designer. 5. The company made paper bags, card boxes, labels and tickets for a range of different clothes stores. Photograph of Patti LewisHarry Hammond (1920-2009)1950sGreat BritainHarry Hammond Collection. In the early 1950s, a made-to-measure woollen suit from Balenciaga cost about Â£112, a sum well beyond the reach of most consumers. The Utility Scheme was introduced in 1941 to ensure that consumer goods were produced to the highest possible standards at 'reasonable' prices. It was worn at events and in places where in previous decades more formal attire would have been required. She wears light eye make-up and bright red lipstick.Â She wears casual, youthful dress, inspired by teenage and rock and roll fashions. Older or more conservative women still tended to dress in skirts below the knee with tailored jackets, coats or cardigans. This hairstyle was worn under vast, broad-brim hats with low crowns, and adorned all over with flowers, lace, ribbons and feathers. Fashion can change rapidly in a short space of time; here is a brief timeline, documenting the evolution of fashion during the 1900s. The lounge suit dominated men's dress from the 1920s onwards. Some images used in this set are licensed under the Creative Commons through Flickr.com.Click to see the original works with their full license. Popular in the 1920's. T.274-1974Given by the designer. Barbara Hulanicki, the designer, recollected in her autobiography, A to Biba: 'The skirts were only 10 inches long. This dress was designed by the London couturier Victor Stiebel (1907â76). It was worn with day trousers, evening trousers and sometimes (as in this example) with matching easy-cut trousers. 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. Evening dressPierre Balmain (1914-82)1950-5ParisSilk grosgrain with embroidery, lined with linen, supported by boning and netMuseum no. The torso is moulded by a rigid whalebone corset into an hourglass shape with aÂ straight, flat abdomen. Born in England at Bourne in Lincolnshire, he started working at the age of 12 in a draperâs shop in London. And as she danced, the drifting tunic top and the central drapery of the skirt would have flowed with her. These designs, such as the wrap dress and pants suit, were made popular by designers who have become icons in the fashion industry for creating influential works of art that left a major imprint on the fashion history of the 20th century and beyond. S.137:417-2007. 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. Here Haley uses the image of a woman driver to represent a modern outlook and an independent lifestyle. She worked with the young designers, Paul Babb and Pamela Proctor to ensure they designed clothes she would happily wear herself, such as this brightly patterned mini-dress. The donor to the Museum of this suit took his inspiration directly from the Edwardian period (Edward VII reigned 1901-1910) by requesting his tailor to copy a suit worn by Sir Winston Churchill in 1911 that was shown in a photograph of the time. Evening dressMadeleine Vionnet (1876-1975)About 1934ParisBlack silk velvet, with two asymmetric silk georgette streamersMuseum no. Such ventures tended to be short-lived, lasting a few years or even months, like the Beatles' 'Apple' boutique, which closed in July 1968 after 7 months. The dress is a half-mourning dress, meaning that it was worn in the later stages of mourning. holding a vast knowledge of garment construction and technique, he created a simple, sleek, fluid dress design that translated to become the tunic dress, the chemise dress, the balloon jacket, the babydoll dress, the cocoon coat, and the sack dress. It thrust the hips backwards and forced the chest forward into a fashionable pouter-pigeon shape, emphasised with puffed, frilly blouses that were often embellished with decorations like lace collars and broad ribbon ties. Ladies' Edwardian fashion was greatly influenced by the designer Paul Poiret, known as the creator of modern clothing shapes and designs. PLAY. T.128&A-1982Worn by Mrs Opal Holt and given by Mrs Haynes and Mrs Clark. An illustration in the American edition of the fashion magazine Vogue' of 15 April 1926 identifies this dress. 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 cafÃ©, shops, lifts or toilets. 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.96-1963Given by Sir Phillip and Lady Joubert. Evening dressGabrielle 'Coco'Â Chanel (1883-1971)About 1932ParisMachine and hand sewn blue tulle and sequinsMuseum no. E.1602-1954. Light-reflecting beads and sequins had long been popular decoration for evening fabrics, but in the 1920s the fashion reached its peak. He was adept at manipulating firm fabrics. It clearly appealed to a largely female readership. Edward Molyneux (1891-1974) could be relied on to provide streamlined distinction. They are identifiable by a 'CC41' stamp, which is an abbreviation of the 'Civilian Clothing Act of 1941'. This dress was worn by Princess Alexandra of Denmark (the future Queen Alexandra), who was considered to dress with exemplary taste. The suit is completed by a matching turban-style hat in claret and black, and a hand-embroidered silk blouse in delicate blue-grey. However, between 1920-2 the waistline dropped to hip level, obscuring natural curves for a tubular, androgynous look. Echoing these concerns, âAestheticâ dress of the 1870s rejected the fussy and upholstered look of womenâs fashion. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. ) encouraged women in their 50s ( 1905-57 ) 1947ParisSilk velvet and 1900 fashion designers with! 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