When offering this jacket and skirt to the Museum in August 1942, Sir Thomas Barlow explained that 'they conform in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'. While every attempt at accuracy has been made, the Timeline is a work in progress. Crisp-looking blue and white dresses such as this were popular for boating and seaside wear. A fashionable young woman would have worn this garment either as a mini-dress or with trousers. The style was derived from military coats at a time when military tailoring had become fashionable. In 1909 he registered his design (based on the Ionic version of the Greek classical garment the chiton) for the 'Delphos' dress, of which this glistening black columnar example is a typical representative. However, this s-shape decreased as the years passed, and by the end of the era, dresses were . This dress was made by top London couturier Hardy Amies, but this silhouette permeated into most women's wardrobes via ready-to-wear or home pattern versions. Crepe. Gift of the Brooklyn Museum, 2009; Gift of Mrs. Robert G. Olmsted and Constable MacCracken, 1969. Predominant colors were madders, browns, greens and pinks. Not a fashion icon in the strictest sense, Anna Muthesius (Fig. But, despite the best efforts of fashion designers to be inventive without wasting precious fabric, there was a very limited choice. Sometimes they employed artists to illustrate these items. It was used for the flimsy scarfs which were folded twice round the neck and tied in a bow or knot in front, and for frills everywhere. Elbow length gloves were often worn with evening gowns. His suits were highly regarded and commanded high prices. PhotographJohn French (1906-66)1960sLondonJohn French Archive, ref.JF6647/13. Costume (skirt and jacket)John Redfern (1853-1929)About 1911LondonWool flannel with black velvet and silk liningMuseum no. pellethepoet. 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.. T.71-1982. Underpants of natural coloured wool or cellular cotton were also popular as these fabrics allowed the skin to breathe. This fabric would be used to make widow's dress with a plain collar and broad weeper's cuffs made of white muslin and crepe bonnet with a veil. Sleeves were equally dramatic. Paul Cocteau'. In April 1966, the American news magazine 'Time' published a special edition celebrating London: The Swinging City. Paper dressOssie Clark (designer, 1942-96), and Celia Birtwell (textile designer, born 1941), for Ascher Ltd1966LondonPrinted paperMuseum no. The dress fastens with a zip down the back . The deep v-neck of this dress typifies Dior's 'Y' motif, as does the inverted Y shape of the pleats of the skirt, Evening dressWorth LondonAbout 1955LondonSilk dupion with embroidery of sequins, pastes and crystal beads; lined with taffeta and faced with netMuseum no. Vests were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. The silhouette was slim at the hip, accomplished by pleating and smocking the excess fabric. The loose bolero and open jacket forms were often not what they seemed, but an applied trimming of a bodice on a close-fitting boned lining. As the decade progressed, fashions began to soften. E.343-1985. A simple waist-tie gives shapely definition to the loose tunic-style. 7914-1938Given by Helena Hollyer, 1938. 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. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. The Duke gave this suit to Sir Cecil Beaton, who was then collecting fashionable dress for his 1971 exhibition, 'Fashion: An Anthology'. Riding habit, 1900-1909. The prevalent 1930s style was the bias cut. Though initially shocking to some, many designers embraced its informality and ease of movement. Day dressDesigner unknownAbout 1913EnglandMuseum no. Pierre Balmain (191482) opened his couture house in 1945. By the 1890s conventions had become so relaxed that smart young men were seen wearing Norfolk jackets even in the city. 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. Milbank, Caroline Rennolds, and Harold Koda. Muslin itself, also plain or printed, was much used. William Arthur Smith Benson was a metalwork designer and a founder-member of the Art Workers Guild, which gave birth to the Arts & Crafts Exhibition Society in 1886. We may be compensated if you make a purchase after clicking a link. They were forerunners of the longer skirts that became generally accepted by 1929. This was the blouse. Hair was set short and close to the head, often with gentle 'finger waves' at the hairline. Unless specifically noted, images used in the Timeline are not subject to this Creative Commons License applied to the written work from the Timeline. Patou died in 1936, and his brother-in-law, Raymond Barbs, took over the business. Christian Dior (1905-57) launched his couture house in 1947, and soon became one of the most successful fashion designers of the 20th century. They were inspired by earlier masculine styles in neckwear. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. 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. pellethepoet. The Victorians often combined these two curtain fabric types, with heavy curtains layered over frilly white net fabrics, all finished off with a massive curtain rod, and ornate brass curtain hold backs. But brides who could follow the trends wore . Kay, Ossie Clark's sister, wore it as a mini-dress when Clark married Celia Birtwell in 1968. The models shown here are easily dated to the 1960s because of their hair and make up. It is decorated with lace, frills and pin-tucks, to give a soft and feminine appearance.The bodice is ruched and draped to createa low, puffed chest shape that was very fashionable in the 1900s, especially around 1905. 21 & 22). John French (1906-66) On this garment, vivid velvet pile is set against light-reflecting beadwork, and the triple-tiered matt net overskirt covers the sheen of the trained satin skirt. 1900 brown plaid (1) 1900's gingham (1) 1910 Fabric (1) 1910 Fabrics (1) . T.74-1974Given by Lady Victoria Wemyss. Day dressPaulPoiret (1879-1944)1924ParisFine flecked worsted, trimmed with rayon braid and tassels, machine stitched and hand finishedMuseum no. Until the late 1890s, the heavier cloths satins, richly-figured silks and stiff glace silks were worn, stiffly lined. Wreaths decorated with small waxflowers - in this case,orange blossoms on wire stems - were popular wedding accessories of the 1930s. They were madeto sit on top of the head, bothas a decoration and a way of holding the long veil in place. Dinner dress, ca. Sleeves could also be draped and necklines were sometimes off-the-shoulder. The line was simple and uncluttered and few trimmings or accessories were worn. 1890 white spat boots, oxfords and pumps. The gibus or collapsible top hat came into fashion in the 1840s and was often worn with evening dress. Read more: 1840s-1890s Fashion | 1880s Fashion, Victorian Costume and Costume Accessories by Anne Buck, published 1961, copyright expired. Young people's income was at its highest since the end of the Second World War, creating the desire for a wardrobe which did more than simply copy adult dress. Edwardian Children, ca. Starting with over 5,000 yards of antique fabrics including feedsacks, dress rayons and crazy quilt fabrics as well as quilting cottons from the 1850's. Teenagers began to appear as a separate group during the 1950s. With a BA in history, her research at Central Saint Martins explored how the body was fashioned in the 1920s. The bodice had lost its fullness of sleeve. The dress fastens with a black plastic zip on the left-hand side. It could easily be carried under the arm, making it more convenient for an evening at the opera or theatre than the rigid top hats. 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. Its fresh youthful style conjures up images of summer holidays during the years before the First World War(1914-1918). What this looked like varied, but themes of practicality, freedom of movement and Art Nouveau patterns were consistent. Their impact depended on the juxtaposition of colours and a variety of luxurious and richly decorated fabrics. Blouses (waists): Lawn, ponge, madras, silk (crepe, taffeta, shantung, georgette, china, japan), velvet, cashmere, wool, mohair, linen, velvet, lustre, cambric. A less than floor length skirt can be extended by adding a broad band of fabric to the hem, or by wearing the dress over a floor length skirt and perhaps pinning the shorter dress skirt into attractive puffs, scallops or swags. Source: Wikimedia Commons, Fig. By 1894 a range of styles was available, including ventilated waistcoats of lambswool with perforations under the arms, silk undershirts and vests made of lambswool. 1900. 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. The high-waisted black cashmere kimono-like gown is trimmed with striking notes of purple and a wide draped purple sash of silk crepe. Click on the picture or title of the product and you will be redirected to the online merchant selling that item. The skirt is cut as a complete circle. Our fashion history blog helps you create the look from decades past using vintage, vintage inspired and thrifty clothing, Need help? He was soon patronised by the Empress Eugnie (1826-1920), wife of the French Emperor, Napoleon III, and her influence was instrumental to his success. Source: Wikimedia Commons. Mourning etiquette was well controlled and what could be worn at each stage was rigidly prescribed. 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. This is from the collection of Heather Firbank (1888-1954), daughter of the MP Sir Thomas Firbank and sister of the novelist Ronald Firbank. Along with the dresses, girls wore black stockings and shoes (Fig. Lace blouses were particularly popular: It is essential to the conduct of all good wardrobes that they possess a lace bodice, if not two, the one high, the other low (Gentlewoman, 1897). Double-breasted suitDesigner unknownAbout 1904Great BritainFlannel woven with a thin vertical pin-stripe, with mother-of-pearl buttons, and sleeves lined with cottonMuseum no. Coats at a time when military tailoring had become fashionable was well controlled and could... Patterns were consistent for each individual client, and was out of most women 's.. The back cashmere kimono-like gown is trimmed with rayon braid and tassels, what fabrics were used in the 1900s? and..., accomplished by pleating and smocking the excess fabric earlier masculine styles in neckwear make a after... The back BritainFlannel woven with a thin vertical pin-stripe, with mother-of-pearl buttons, and by the 1890s had. 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