The suit bears the CC41 label, which stands for the Civilian Clothing Act of 1941. Summer dressHorrockses Fashion1953EnglandPrinted cottonMuseum no. The owner of this lounge suit was Sir Max Beerbohm (1872-1956), the English essayist, caricaturist and master of a polished prose style. Its fresh youthful style conjures up images of summer holidays during the years before the First World War (1914-1918). Cloth caps were popular amongst the working class, though trilbies or homburgs were worn by the middle classes. Women could wear them for work during the day and then, with a change of accessories, wear them out in the evening. These standards complied with restrictions and the rationing of raw materials. It is attributed to a group of fashion-conscious young men, some of whom were formerly officers in the Brigade of Guards. Then, both hand-crafted and mass-produced tailoring was as important as it is today. Undervests of natural coloured wool or cellular cotton were also popular, as these fabrics allowed the skin to breathe. Bright colour mixes reached a peak by 1925. Many items were shown in an exhibition at the V&A in 1960. Fashion Designer. The S-bend corset was fashionable during the 1900s. T.89-1982Worn by Mrs Opal Holt, and given by Mrs D.M. The ensemble was worn by Viscountess Brackley, née Miss Violet Lambton, who became the Countess of Ellesmere (1880-1976). Fashion design moved toward simpler lines to reflect the simpler lives of the public. Tailor-made outfits were practical yet smart and well suited to town or country wear. Evening mini-dressMary Quant (born 1934)1967-8LondonMachine-sewn crêpeMuseum no. DesignRoseland Studio (artists) for Willetts & Sons (retailers)1920sLondonPen and ink and pencil on cream cardMuseum no. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. 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 three-piece lounge suit was commonly worn, but from 1914 to the end of the decade, many men were photographed in military uniform. Changes in fashion did occur, but they affected details such as the width of the lapel or the cut of the trousers. In the 1960s, Biba clothing featured some of the shortest miniskirts available, focusing attention on the wearer's legs. N ot a fashion icon in the strictest sense, Anna Muthesius (Fig. From the mid 1960s until about 1971 Cardin favoured heavyweight woollen jerseys for his avant-garde designs. In October 1942 Vogue magazine published the following description of the collection: 'All the designs are, of course, within the New Austerity specifications: only so many buttons, this much cuff and that much skirt...but they are an object lesson in the power of pure style over mere elegance'. Paul Cocteau'. Often the dancing partner of the dapper Fred Astaire in films, Ginger … The loop of tape outside the waistband through which tongues of the braces were passed became general towards the end of the period. The embroidery upon the bodice would have originally been more silvery than it appears now. The coats illustrated here are typical of the 1950s. The famous 1960s model, Twiggy, launched her fashion label 'Twiggy Dresses' on 16 February 1967. 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. His collections continued to be a great success. It epitomises the glamour of 1930s fashion and captures the desirable, slinky look of the period. Their reputation for micro-minis started almost by accident following a shipment of jersey skirts in 1966. They were often initialled with the name of the owner so they could be recognised during the laundry process. T.36-1964Given by Mrs P. Otway-Smithers. This is a poster for Hart Schaffner & Marx, who made hand-tailored clothing for men. Patou died in 1936, and his brother-in-law, Raymond Barbàs, took over the business. The period 1900-1909 by chance almost exactly covers the Edwardian age in Britain.Queen Victoria died in 1901 and King Edward VII acceded the throne in the same year, dying in early 1910. There is a train, but no bustle. One of the earliest works by Mary Quant in the V&A's collection, this shift illustrates how she broke with convention and made clothes specifically for young customers. He created an ultramodern look based on geometric shapes, and incorporated new materials such as vinyl, rubber, and plastic! Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. Halston And Warhol: A Fashion Fellowship . Men now generally wore three-piece suits for work or formal occasions only. Though male fashions did not change as rapidly as women's, his waistcoat is fastened lower on the chest than was fashionable in the 1890s. Trousers were very wide, with turned up hems and sharp creases down the leg. This tunic was part of Ossie Clark's first collection for his lower-priced Radley label. The dress fastens with a black plastic zip on the left-hand side. In 1914 he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. This pair of shoes is typical of the mid 1940s, 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. The short, semi-circular cape has a scarlet satin lining. I couldn't sleep, but that little fluted skirt walked out on customers as fast as we could get it onto the hatstands. He opened branches in London (1881), Paris (1881), New York (1884) and Rhode Island (1885). Many people had studio photographs taken, in everyday dress or fancy dress, for ‘cartes de visite’, and later ‘cabinet cards’. This is a good example of a Utility Suit. Fashion Timeline; 1900 to 1910; 1900 to 1910. In tune with the times, Mary Quant offered them identities of their own with styles such as this vivid red shift with youthful appeal. Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. T.38&A-1966Given by Mrs Benita Armstrong, This curvaceous suit has the small waist and wide, padded hips inspired by Christian Dior's instantly popular 1947 'New Look' collection. Though, the square shoulders recall earlier styles and show that this lady may have resisted a complete change in style.Â. It was one of 32 stylish yet economical outfits intended for general production. This outfit would have been worn as a walking suit. Women wore pale foundation and emphasised their eyes with kohl, mascara and false eyelashes. 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. In 1947, Christian Dior introduced his 'New Look', which revolutionised1940s fashion. Auch wenn die Bewertungen ab und zu nicht ganz objektiv sind, bringen die Bewertungen in ihrer Gesamtheit einen guten Gesamteindruck. Men wore narrow-cut lounge suits, with pointed collars turned down, and plain or simply patterned modern knot ties. A fashionable young woman would have worn this garment either as a mini-dress or with trousers. The printed pattern of waved bands of massed flower-heads is carefully disposed in all pieces of the dress. This printed design was based on an Art Nouveau textile in the V&A collections. He launched 'Heim Jeunes Filles' in 1936 to follow younger tastes in fashion. The models shown here sport typical 1960s styling. It is labelled 'Hand made expressly in Belgium for Lilley & Skinner Ltd., London', and painted with a pattern of multi-coloured sprigs. Such an image was clearly designed to appeal to fashionable customers and to reflect well on the clothes store which used it. Older men sported beards, but younger men wore moustaches or went clean-shaven. Although at first ridiculed, many of the decorative features of ‘Aesthetic’ dress were absorbed into mainstream fashion by the 1890s. Though most women would not have been able to afford a dress from a couture house, many would emulate the Princess' style.Â. When offering this day dress to the Museum in August 1942, 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'. It also shows how designers broke the strong vertical emphasis by creating overskirts with horizontal lines. The dress was appraised as one of the most influential pieces in the era’s fashion, inspiring numerous designers to showcase similar styles in their own work. The coat was cut as double-breasted but was always worn open. His designs were adopted by royalty, actresses and fashionable women for everyday wear as well as for sports. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. Famous 19th Century Fashion Designers. 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. T.25-2007. They were worn at early evening or ‘6 to 8’ gatherings.  Since guests usually stood and mingled, the gowns could include complex bustles, appliqué and skirt details, which would be crushed if sat on. In style this dress is transitional between the pronounced curved shapes of the early 1900s and the straighter lines (with high waists) that had become current by about 1909. This evening mini-dress in black crepe was designed by Mary Quant for her Ginger Group collections in 1967-1968. The multi-talented Mariano Fortuny (1871-1949) was a painter, theatre designer, photographer, inventor and scientist, although he is best known as a creator of extraordinary fabrics and clothes. 1890-1900 Fashion. ShoeDesigner unknown1940sEnglandLeather, punched and stitchedMuseum no. The skirt has a minutely pleated yoke that runs across the hips. Their lipstick is pale but their eyes are accentuated with thick, black kohl eyeliner. In the 1880s William Morris and other English artists rejected the dominance of the machine in British art and design. Evening dressElsa Schiaparelli (1890-1973)1936ParisWool crepe and gold braidMuseum no. Its construction appears simple, but the clean lines are achieved by skilled cutting and intricate diagonal seaming. In 1921 Heather Firbank's clothes were packed into trunks and put into storage, where they remained for the next 35 years. T.212:4-1996. This overall, or housedress, was designed to Utility standards. Men's fashions still revolved around the suit. T.190-1979Given by Sir Roy Strong. Suit (jacket and skirt) and coatWorth London (designer) for the Incorporated Society of London Fashion Designers (collection), for the Utility Scheme1942LondonScottish woollen tweedMuseum no. Vests and pants were worn next to the skin under the shirt or trousers. When this partnership failed, he began to design, independently showing his first collection in 1965. The detail around the top of the outfit shows how the garment is formed from interwoven strips of silk in a simple basket weave, a play upon the construction of woven fabric which is further emphasised by the patterning of the narrow tucks. This dress was designed by Michael Sherard (1910–98) for his acclaimed 1958 spring collection.Â. Evening ensembleNabobAbout 1927LondonSilk georgette, the belt embroidered with metal threadMuseum no. However, between 1920-2 the waistline dropped to hip level, obscuring natural curves for a tubular, androgynous look. Despite the simplicity of the image, it communicates glamour. As the 20th century dawned and the Edwardian age began, fashion belonged only to the privileged few. 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.'. T.375&A-1988. 1900 fashion - Der Gewinner unseres Teams. 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. This portrait is of Ilse Bing (1899-1998), one of several leading women photographers in the inter-war period. PLAY. It was originally worn by the Rifle Corps in the Volunteer Movement of 1859-1860 and was adapted for shooting costume during the 1860s. The Norfolk jacket was often made of Harris tweed and homespuns. Also, designers introduced bold prints and colours in an attempt to break away from the minimal adornment of the bias-cut line. 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. 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. The full skirt features deep box pleats at the back for volume. Born in France to Italian parents. Many continued to sport short bobbed hair as they had in the 1920s. 'Byzance' evening dressJean Patou (1880-1936)1924ParisSilk, embroidered with glass bugle beads and imitation baroque pearls, lined with georgette, and fastened with metal hooks and eyesMuseum no. 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. Helped to bring a hollywood style fantasy to those in need of an escape from economic troubles. The skirt is made of pleated lustrous silk taffeta. Her hair is piled in loose waves on top of her head, and is pushed slightly forwards over her forehead.Â, Golfing ensemble (skirt, jacket, belt, cap and club)Frederick BosworthAbout 1908LondonMuseum no. It shows a man in evening dress, with tails and a top hat. Rows of non-functional tiny buttons were frequently used as decorative motifs in this period. This daywear ensemble, designed by Emanuel Ungaro (1933–), is composed of a knee-length dress and a pair of shorts. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. A daring purple satin lining belies the sober grey exterior. In August 1912 The Queen magazine described 'the prettiest style of Robespierre collar, finishing with a Latin Quartier cravat of blue and white birds-eye spot silk'. It clearly appealed to a largely female readership. He left Balenciaga, with whom he had worked for six years, to join Courrèges in 1964. 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