In spite of the rapid development in the 20th century of man-made fibres, couturiers tended to remain faithful to costly natural fabrics, with the exception of trimmings, such as the braid on this dress. Both were albumen prints made from glass negatives, attached to stiff card backing printed with the photographer’s name. 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. Photograph; portrait of Henriette Henriot (cabinet card)C.H. The smoking jacket was a short, easy- fitting coat, cut in the style of a lounge jacket. Though couture clothing like this was out of most women's reach, it inspired more affordable fashions. Fashion can change rapidly in a short space of time; here is a brief timeline, documenting the evolution of fashion during the 1900s. He was a slim, elegantly dressed man, who was meticulous about his dress. However, Molyneux transformed it into a little black dress with attitude by cutting the matt crepe to skim sensuously over the body's curves and by introducing pleats at salient points. Jean Patou. E.476-2005Given by Paul Williamson. Evening ensembleElsa Schiaparelli (1890-1973)1938LondonRayon marocain, backed with satin, and embroidered with various gilt threads, beads and diamantesMuseum 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. This photograph shows 1950s supermodel, Barbara Goalen, modelling a 'New Look' style outfit. The skirt is full, the waist cinched in with a belt, and she wears a wide saucer hat. The exaggerated hourglass figure was the fashionable ideal for women during the 1950s. This example was drawn by a commercial artist at the little-known Roseland Studio in the 1920s. From Balenciaga he learned to search for a pure, simple and sharp line which, mixed with his taste for white and pure colours, allowed him to create designs for a younger generation. Skirts with handkerchief points were particularly fashionable in the late 1920s. During this decade, frilly, puffed blouses and fluted skirts continued to be popular. Teenagers began to appear as a separate group during the 1950s. It originated from the 'lounging jacket', which was cut to fit the waist without a waist seam by means of a long dart from under the arm to the waist. Marion Kite, an art school student, wore the dress for special occasions in London, and also on holiday in Cornwall. 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. T.338-1984Given by Eric Lucking. T.87&A-1974. Designed for the avant-garde New York boutique 'Forward Look', this dress was worn by Princess Stanislaus Radziwill. Wie gut sind die Bewertungen im Internet? During the early 18th-century, the first fashion designers came to the fore as the leaders of fashion. 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. When this partnership failed, he began to design, independently showing his first collection in 1965. As the Victorian era drew to its close, skirts for both day and evening were elongated at the back to form a train. There is a Morton label inside the blouse, making it one of only two Utility prototype garments labelled by the original designer. A typical gentleman probably owned several sets of vests and underpants. Photograph of British Female Celebrities The dress exposes the décolletage and shoulders, and the long skirt is fitted around the hips and fluted towards the hem. Couturier clothing like this was custom-made for each individual client from the finest materials. T.288-1973Given by Mr J. R. H. Cook. Smart yet practical, this shirtwaister - a kind of tailored shirt-dress - was the only black garment in the designer Utility collection. 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. Fashion: 150 Years Couturiers, Designers, Labels The War of the Worlds - Krieg der Welten Wir vom Jahrgang 1950 - Kindheit und Jugend (Jahrgangsbände): 70. 1900–1905 Edwardian fashion trended toward open end pagoda sleeves. Patou died in 1936, and his brother-in-law, Raymond Barbàs, took over the business. Evening dressCallot SoeursAbout 1922ParisPrinted silk voile, embroidered with sequins and beads, and trimmed with laceMuseum no. Four sisters, Marie, Marthe, Regina and Joséphine, had opened a lace shop in 1888. Suit (jacket and skirt)Victor Stiebel (1907-76, designer), for the Utility Scheme1942LondonFlecked woolMuseum no. … T.193&A-1970Given by Lord and Lady Cowdray. The focus on this jacket is the double-flared panels which draw attention to the hips. American sportswear designers Calvin Klein and Ralph Lauren became global names, and high-fashion designers like Thierry Mugler and Azzedine Alaia pioneered new shapes in womenswear. The rayon crepe dress has all the characteristics of wartime clothing - broad shoulders (shaped by heavy flock pads), a skirt length just below the knee and a square silhouette, but it also has also eye-catching details, such as bold lapels and a roomy pocket set diagonally on the left hip. The Utility Scheme was introduced in 1941 to ensure that consumer goods were produced to the highest possible standards at 'reasonable' prices. Photograph of Lita RozaHarry Hammond (1920-2009)1950sGreat BritainHarry Hammond Collection. Please feel free to add more in the comments section! By the 1880s the top hat was relegated to more formal occasions when a gentleman would wear a frock or tail coat. Travelling gownDesigner unknown1905, Great BritainWoollen face cloth, trimmed with braid and velvet, and inserted with panels of net and machine-made laceMuseum no. The magazine displayed the types of clothing that regular middle class women appreciated. This suit comprises a fitted jacket and slim-fitting skirt with a kick pleat at the back. There is a blue spandex trimming around the collar, the upper part of the coat, the pockets and the sleeves. Spell. 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'. 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