Businessman. BensonFrederick Hollyer (1837-1933)About 1900LondonPlatinum printMuseum no. Fashion design moved toward simpler lines to reflect the simpler lives of the public. T.89-1982Worn by Mrs Opal Holt, and given by Mrs D.M. Its stark, simple lines suited her elegant, uncluttered style. The smoking jacket was a short, easy- fitting coat, cut in the style of a lounge jacket. The breast pocket is stay stitched rather than interlined to economise on fabric. By the 1850s the coat was shaped halfway between a riding coat and a frock coat. The company built its reputation from selling ready-to-wear tailoring. Perhaps the most remarkable development in 1960s dress was the dramatic change in menswear. There are two buttons on the front, six at the back and two vertical pockets on the front. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. Paul Poiret (1879-1944) was born in Paris. Contact with mercury often had detrimental effects on the hatters and led to the phrase 'mad as a hatter'. In 1966 The Observer newspaper said of Cardin's designs: 'His contribution to modern living may be practical but it's rather a shock.' (Teddy derives from Eddy, a diminutive of Edward.). T.69toB-1976Given by Mr A. MacKay, This distinctive style comprising bowler hat, fitted jacket and tapered trousers with waisted overcoat and velvet collar evolved shortly after the Second World War - in the late 1940s and early 1950s. This ensemble shows Courrège's architectural approach to fashion: the use of geometrical shapes, minimalist details and colour. 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. (Mrs Humphry, 'Manners for Men', London 1897). T.128&A-1982Worn by Mrs Opal Holt and given by Mrs Haynes and Mrs Clark. T.302&A-1971. During this decade, frilly, puffed blouses and fluted skirts continued to be popular. T.272-1974. During the war, America's french connection was cut off, and many women embraced the "make-do-and-mend" approach. Crisp-looking blue and white dresses such as this were popular for boating and seaside wear. Photograph of ladies walking in the Avenue des Acacias, ParisJacques-Henri Lartigue (1894-1986)1911, ParisGelatine silver printMuseum no. Today, the company retains a host of Royal Appointments. Vintage Style: 1970s Fashion Designers. Lady Ethel Templer (née Davie, 1904-97), bought this dress in the late 1950s. She was very slim and was able to buy the original dress worn by a house model for the collection. It was originally strapless, but she asked Stiebel to add the straps because her shoulders were narrow. Lady Templer was the wife of the British High Commissioner to Malaya, and required an extensive wardrobe for the many formal dinners and state functions that she had to attend. STUDY. The Teddy Boys, who wore pointed shoes, tight trousers and long jackets with velvet trim, were also a significant teenage group. Fashion is the economy’s high-wire act, and its designers are the odds-defying trapeze artists of the industry. 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. In 1903, she published Das Eigenkleid der Frau (Women’s Own Dress) which urged readers to eschew Paris fashions (Hennessey 236). They are stamped with the Utility symbol CC41, which stands for Civilian Clothing and 1941. Jackets were narrow with small, high lapels. Now, colourful new elements were introduced, such as the collarless jacket, worn with slim-fitting trousers and boots. T.271&A-1990Given by Mr. R. Hughes. The dress has a simple collar and spotted cravat. Evening mini-dressPaco Rabanne (born 1934)1967ParisPlastic pailletes joined with metal wireMuseum no. It was worn at events and in places where in previous decades more formal attire would have been required. Learn the history of the authentic Edwardian fashion look. Testberichte zu 1900 fashion mens analysiert . Jean Patou (1880-1936) was born in Normandy, France, the son of a tanner. Simple dresses were teamed with short capes, boleros or jacket, and sequins were a favourite way of adding glamour to an outfit. It is an example of the highest standards of design and dressmaking, utilising the most luxurious materials. His uncle owned a fur business, which Patou joined. SuitLachasse1948-9LondonWool, silk crepe de chine, and silk jerseyMuseum no. Young, very fashionable 'flappers' wore their hems at knee level, with neutral coloured stockings and colourful garters. Coat-and-skirt ensembles such as this would not have been considered suits until after the First World War. Day dress and hatDress, designer unknown, Hat, by Henry of LondonAbout 1910Great BritainMuseum no. They sport bouffant styles, back-combed for a full, bee-hive shape, and heavy fringes. As the 20th century dawned and the Edwardian age began, fashion belonged only to the privileged few. Businessman. Fashion Designer. Evening dressElsa Schiaparelli (1890-1973)1936ParisWool crepe and gold braidMuseum no. T.190-1979Given by Sir Roy Strong. The dress is dominated by the boldly embroidered panels imported from Turkey and made up in London. The loop of tape outside the waistband through which tongues of the braces were passed became general towards the end of the period. 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. MISC.217&A-1982Given by Christine Boardman on behalf of her parents, Mr and Mrs Frederick Hazel. Gravity. T.173-1964. Then, both hand-crafted and mass-produced tailoring was as important as it is today. T.337-1997. 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 elegant grey flannel two-piece ensemble is called a 'costume'. Emilio Pucci was well known for using bright, eye-catching prints in his designs. He was a slim, elegantly dressed man, who was meticulous about his dress. This costume shows how designers of the period lavishly adorned plain cloth with a variety of rich trimmings. He quickly became the most prominent fashion designer in Paris. Though couture clothing like this was out of most women's reach, it inspired more affordable fashions. This printed design was based on an Art Nouveau textile in the V&A collections. It shows a glamorous young woman wearing a fur-trimmed coat in the latest style, together with a cloche hat and bobbed hair. This practical, less formal dress style was driven by a dance craze, particularly for the tango, that started in America in the early part of the decade and spread to Europe within a few years.Â, Day dressDesigner unknown1912-4EnglandLinen, with silk organza collar and cuffs and silk twill bowMuseum no. Daywear consisted of skirts and jackets or day dresses in tweeds and woollens. Having trained as an architect, initially he made plastic buttons and jewellery for Paris couture houses. In History. During the Edwardian era, it was common for women to wear boned corsets, squeezing waist sizes down to 20 inches or less. His brilliantly coloured, looser clothes, often inspired by the 'orientalist' enthusiasm for Eastern fashions and traditions, were extremely popular. It was usually single-breasted and was known as the 'cutaway', as the fronts sloped away elegantly to the broad skirts behind. She purchased Worth gowns between 1947 and 1962. The S-bend corset was fashionable during the 1900s. Mini-dressOssie Clark (designer, 1942-96), and Celia Birtwell (textile designer, born 1941)1969LondonPrinted rayon and crêpeMuseum no. Dispo's paper dresses were actually made out of a bonded cellulose fibre and could be washed. Hats reached an immense size in the early 20th century. By the 1870s the jacket was worn with matching waistcoat and trousers and had become popular for informal wear. It also had a belt made of the same material. The dress exposes the décolletage and shoulders, and the long skirt is fitted around the hips and fluted towards the hem. The minute pin-tucks on the bodice, sleeves and skirt are hand sewn. Cloth caps were popular amongst the working class, though trilbies or homburgs were worn by the middle classes. Fashion photograph, Barbara GoalenJohn French1950sLondonJohn French Archive. The popularity of the smoking suit shows how sartorial rules were relaxing in the late 19th century. They continued to wear face shadowing wide brimmed hats. This is a typical example of a gentleman's morning suit. They wore feathers, lace, and pearls. Born in England at Bourne in Lincolnshire, he started working at the age of 12 in a draper’s shop in London. He was one of the most creative fashion designers of the 20th century. His career was interrupted by the First World War of 1914-1918, but in 1919 he reopened his salon, this time under his own name. 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. Patou died in 1936, and his brother-in-law, Raymond Barbàs, took over the business. 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. T.15-2007Given by Gillian Saville. Crisp-looking blue and white dresses such as this were popular for boating and seaside wear. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in 1930 to concentrate on photography. This was a really fun school project and I thought I would share it with you. It was made of corded silk or cloth over a metal framework which sprung open with a flick of the wrist. They were inspired by earlier masculine styles in neckwear. Top 5 Fashion Designers of 1950’s Women’s Fashion. Evening dressJacques Heim1959, ParisSilk organza, with an underdress of silk taffeta and organzaMuseum no. Midi-coats and maxi-coats for men and women were introduced in 1966. Their subjects included scenic views, tourist attractions and works of art, as well as portraits. Separates were popular, with skirt… Soft shoulders, and tiny waist, and a large full skirt were coined by Dior. This hairstyle was worn under vast, broad hats with shallow crowns, heavily trimmed with flowers, ribbons and feathers. The back of the coat shows a slit from waist down to the hem, covered with a panel. William Arthur Smith Benson was a metalwork designer and a founder-member of the Art Worker’s Guild, which gave birth to the Arts & Crafts Exhibition Society in 1886. Gemerkt von get.google.com. The dress exposes the décolletage, shoulders and arms, and the long skirt is fitted around the hips and fluted towards the hem. The new one-piece Chemise or Princess Slip, which is very adaptable to the new modern fashions. 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 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). 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. Men now generally wore three-piece suits for work or formal occasions only. Of previous decades his couture house in 1945 Henriot ( cabinet card ) C.H formidable impression early. Record announced that Ossie Clark 's sister, wore it as 'No original! 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