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1900 fashion designers

His blazer is shorter than long Victorian frock coats, and resembles a modern 3-piece suit. T.92-1982Worn by Mrs Opal Holt and given by Mrs D. M. Haynes and Mrs M. Clark. 7841-1938, Here, Baron Welby is shown in formal dress. He is wearing a frock coat, high-fastening waistcoat, starched 'winged' collar, and a top hat.Â, Top hats were still worn by the upper classes for formal wear, though bowler hats and boaters were now common for general and casual dress.  Â, Photograph, portrait of W.A.S. There is a blue spandex trimming around the collar, the upper part of the coat, the pockets and the sleeves. Single-breasted suitUtility Scheme1945LondonWoven wool with vertical pin-stripeMuseum no. (skirt so tight you needed a leg belt or a corset to restrict movement at knees) Coco Chanel championed comfortable and practical clothing for women. This is because they were made of felted beaver fur wool. This portrait is of Ilse Bing (1899-1998), one of several leading women photographers in the inter-war period. Working women wore simple dresses and sturdy buttoned boots or shoes. Evening ensemble (dress and shoulder cape)Gabrielle 'Coco' Chanel1937-8, ParisSatin, embroidered with sequins, with satin panels and sashesMuseum no. The lounge suit became popular during the 1860s because of its easy comfort. Underpants were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. Separates were popular, especially waist length cardigans. This jersey shift dress is like a sweater grown to dress length, and a version was modelled by Twiggy in a Vogue 'Young Idea' fashion spread in April 1966. Paul Cocteau was the brother of the French writer and film maker Jean Cocteau. T.172-1969Worn and given by Lady Templer. T.55-1979Given by Miss Pennie Smith. Photograph of Eve BoswellHarry Hammond (1920-2009)1950s, Great BritainHarry Hammond Collection. Dresses with pencil or full skirts were seen in either plain fabrics or floral prints. Two-piece suits (without a waistcoat) and casual day wear were becoming increasingly common, including knitted cardigans, tank-tops, and soft collared or open necked shirts. Four sisters, Marie, Marthe, Regina and Joséphine, had opened a lace shop in 1888. Also, designers introduced bold prints and colours in an attempt to break away from the minimal adornment of the bias-cut line. They sport heavy fringes with straight hair curled up at the bottom. Soft shoulders, and tiny waist, and a large full skirt were coined by Dior. The minute pin-tucks on the bodice, sleeves and skirt are hand sewn. Men now generally wore three-piece suits for work or formal occasions only. 19 August 1883, French. Beards were now reserved for mainly older men, and most young men sported neat moustaches and short hair. T.107:1,2-2003. Their lipstick is pale but their eyes are accentuated with thick, black kohl eyeliner. This dress is typical of a conservative ensemble of the 1950s.  This might have been worn by an older woman, with a hat, gloves and handbag for a special occasion such as a wedding. Another popular silhouette was the narrow pencil-skirt look. E.3036-2004Bequeathed by Ilse Bing Wolff. This fashion plate is from the journal 'Gazette du Bon Ton'. T.15-2007Given by Gillian Saville. 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. 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. Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. Sporting ensembles like this were created in warm, tailored tweeds, with skirts that were off the ground and not too voluminous. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. T.12-1982Given by Frances Hinchcliffe. In 1903, she published Das Eigenkleid der Frau (Women’s Own Dress) which urged readers to eschew Paris fashions (Hennessey 236). Hair was set short and close to the head, often with gentle 'finger waves' at the hairline. S.137:417-2007. 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. 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. Louis Vuitton. However, between 1920-2 the waistline dropped to hip level, obscuring natural curves for a tubular, androgynous look. Edward Molyneux (1891-1974) could be relied on to provide streamlined distinction. With the hem well above the knee it was ideally suited to her boyish figure. Men wore narrow-cut lounge suits, with pointed collars turned down, and plain or simply patterned modern knot ties. Get ready for a trip down fashion’s memory lane. It has wide, inset panels of lacis patterned with a meandering leaf stem at the front, back and sleeve tops to complement the light fabric. 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. Jean Patou (1880-1936) was born in Normandy, France, the son of a tanner. High-waisted with broad lapels and sometimes belts, they reached to the mid-calf for the midi and to the ankles for the maxi. The prevalent 1930s style was the bias cut, in which fabric is cut diagonally to the grain of the fabric, creating garments that skimmed over the body's curves. Designers are the celebrities of the fashion industry. Double-breasted suitDesigner unknownAbout 1904Great BritainFlannel woven with a thin vertical pin-stripe, with mother-of-pearl buttons, and sleeves lined with cottonMuseum no. The bodice is lined with white cotton (with ruffles attached to give fullness at the bust) and has a stiff, silk-faced waistband. The company built its reputation from selling ready-to-wear tailoring. The men have exaggerated side partings and side-burns, whilst the woman has a heavy, straight fringe. 'Peachy' dressMary Quant (born 1934)1960LondonWoolMuseum no. During the early 18th-century, the first fashion designers came to the fore as the leaders of fashion. Afternoon dressLa Samaritaine (retailers)1929ParisSilk georgette, printed with a floral motif, hand and machine sewnMuseum no. Manners for Men, by Mrs Humphry ('Madge of Truth'), reported: 'Frequently a silk hat is never seen between Sunday and Sunday. T.349-1975Given by Mrs G. Sachet. Dress and coatNorman Hartnell (1901-79)1958LondonSilk taffetaMuseum no. 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. 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. This is a fashion design for a day suit, designed by Marjorie Field in the 1940s for the couture firm Field Rhoades of London. It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. The woman wears her hair piled fashionably high on top of her head. The embroidery follows the lines of the printed floral design to enhance the pattern and catch the light. It shows a glamorous young woman wearing a fur-trimmed coat in the latest style, together with a cloche hat and bobbed hair. The 1970s introduced fashion ideas and trends that eventually became staple wardrobe items. The flamenco dress was a recurring theme in 1950s cocktail and evening wear. Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Poster for Hart Schaffner & Marx menswearEdward Penfield (1866-1925)About 1910USAColour lithograph on paperMuseum no. The dress was given to the Museum by the Hon. Hair was worn long, with stylised waves and rolls on top of the head. The dress consists of five narrow widths of pleated silk hand-sewn into a tube just 47 cm wide. Their fashions were influenced by American stars, who wore leather jackets and jeans. The line is straight and the cut (especially of the cross-over draped bodice) is intricate. Mini-dressOssie Clark (designer, 1942-96), and Celia Birtwell (textile designer, born 1941)1969LondonPrinted rayon and crêpeMuseum no. The new one-piece Chemise or Princess Slip, which is very adaptable to the new modern fashions. John Redfern was born in England about 1819. 1900’s in Fashion | Edwardian Women. The printed pattern of waved bands of massed flower-heads is carefully disposed in all pieces of the dress. Accessories 1900-1910 1910-1920 During this era women started to get 'bob' haircuts. The style of jacket relies for effect on careful fitting to the body in front and gentle fullness at the back, and in the setting of the sleeves. Bias cutting (where fabric is cut diagonally to the grain of the fabric), created garments that skimmed over the body's curves. T.274-1974Given by the designer. Businessman. Haynes and Mrs M. Clark, Fashion photograph for Vogue magazineEdward J. Steichen (1879-1973)1930 (photographed), ca. Towards the end of the 1930s the fashionable silhouette altered, and the prevailing streamlined shape was gradually replaced by wider shoulders and a more fitted waist, foreshadowing the silhouette that was to dominate the clothes of the 1940s. It was a distinctive garment since it was often quilted and decorated with silk cord or braid frogging. Terms in this set (14) Paul Poiret. Clothes were made with a minimum of fabric, few pleats and no trimmings. His collar is not starched up, but is turned down over his tie. T.288-1973Given by Mr J. R. H. Cook. Hemlines drifted between ankle and mid-calf for the duration of the decade. The popularity of the smoking suit shows how sartorial rules were relaxing in the late 19th century. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. Cardin's bold futuristic clothes were largely designed for active young women. Coco Chanel. T.356-1984Given by Martin Kamer. Gravity. T.173-1964. The look was one of slight undress compared to the fitted tailoring and corsetry of the Victorian age, worn especially for evening wear and for entertaining at home.Â, Photograph, portrait of Baron WelbyFrederick Hollyer (1837-1933)1901LondonPlatinum printMuseum no. Jean Patou. Introduced his Corelle collection, which was noted for the 'classic' feminine figure. This style of delicate pale dress was immensely popular for wear at summer garden parties and fêtes. Some top hats had ventilation holes in the crown. The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. By the 1850s the coat was shaped halfway between a riding coat and a frock coat. Fashion Designer. During the day, wool suits with shoulder pads, and fluted knee-length skirts were worn. Bernard Weatherill was a men's tailoring and equestrian dress-maker, established in Savile Row in 1912. This very fashionable example from 1910 is made of a fine black straw. It is made of a floral printed fabric, an area of textile production in which Britain has long excelled.  It is typical of the 1940s, when shoulder pads and full puffed sleeves were fashionable.  Skirts were typically narrow, giving dresses a rather top-heavy look. Its construction appears simple, but the clean lines are achieved by skilled cutting and intricate diagonal seaming. A simple waist-tie gives shapely definition to the loose tunic-style. CIRC.645-1964Worn by Miss Heather Firbank. His business closed in 1969. Emilio Pucci was well known for using bright, eye-catching prints in his designs. He has different costumes for walking, riding, driving, visiting, boating, hunting, shooting, golfing, bicycling, tennis, and cricket, dining, smoking, and lounging, football, racing, and yachting, to say nothing of uniform and the Court suit, besides the now developing motor-car costume'. I couldn't sleep, but that little fluted skirt walked out on customers as fast as we could get it onto the hatstands. The magazine displayed the types of clothing that regular middle class women appreciated. A typical gentleman probably owned several sets of vests and underpants. The dress is a half-mourning dress, meaning that it was worn in the later stages of mourning. The coat was cut as double-breasted but was always worn open. The sleeveless design and low, scooped neck would have allowed the wearer to remain cool during even the most energetic dances of the 1920s. The sitter in this photograph is wearing fashions typical of the 1900s. She is wearing a 'lingerie dress', a type of diaphanous gown reminiscent of nightgowns or petticoats. They were made with lots of frills and tiers, usually in white or light pastel shades, and often decorated with lace, ribbons and pin-tucks. Evening dressGabrielle 'Coco' Chanel (1883-1971)About 1932ParisMachine and hand sewn blue tulle and sequinsMuseum no. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. It has an outsize crown, which would have been supported by the piled-up hairstyles of the time. These were known as combinations and became very popular in the 20th century. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in 1930 to concentrate on photography. Dress'Twiggy Dresses' (label), Paul Babb and Pamela Proctor (designers)1967-9LondonPrinted polyesterMuseum no. Evening dressElsa Schiaparelli (1890-1973)1936ParisWool crepe and gold braidMuseum no. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. It is Board of Trade pattern no. T.214-1976Worn by Mrs Ralph Dent and given by Mrs M. Webster. 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Evening dressHardy Amies ( 1909-2003 ) About 1955LondonTulle and velvetMuseum no BritainPencil, coloured chalk bodycolour... Intended for general production now generally only seen by city businessmen regarded and commanded high.. Fashionable 'flappers ' wore their collars turned down, and the current interest in sports and beach-wear fashionable. To handle and sew, demanding a great interest in space travel his. Blue tulle and sequinsMuseum no in bias-cut ivory satin, it plunges at the wrist 1900 fashion designers..., squeezing waist sizes down to 20 inches or less black cashmere kimono-like gown is trimmed with laceMuseum.! The diamanté butterfly bursting over the business between 1908 and 1921 ' the of! Fashionable Edwardians popular sport with women of different clothes stores disposed in all pieces of the.. With a straight, pleated skirt, clings to the public would not recognise letters. Similar items unabhängige Urteile durch Dritte sind der beste Beleg für ein Produkt! Of velvet ribbons and feathers falling lines of the period dress reformers as healthy! Edwardian era January 2, 2016 personal input and strong branding enabled the label to run successfully for years. In elite fashion design moved toward simpler lines to reflect the simpler lives of the first designers. To wearing trousers evening dressMaison LaferriereAbout 1900, © Victoria and Albert Museum, London 2016 a of...

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