This dress and coat are typical of glamorous 1930s eveningwear. 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. Bright colour mixes reached a peak by 1925.
', Design for a suitField Rhoades Ltd (Marjorie Field)1940sLondonPencil and bodycolour on paperMuseum no. Here she composed a short-sleeved dress in matt black crepe. Throughout the 1920s he also consistently championed the shorter length of skirt that did much to stimulate the demand for stockings. SuitBernard Weatherill1966LondonWoolMuseum no. Its great if youre looking for a jacket to wear in warm weather. These standards complied with restrictions and the rationing of raw materials. However, the sleeves look too short, rather than intentional, and the price doesnt quite feel worth it to me. It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. Ensemble (dress and coat)Andre Courrges (born 1923)1965ParisMachine stitched worsted and spandexMuseum no. T.21 to B-1960Worn by Miss Heather Firbank. His uncle owned a fur business, which Patou joined. The coat on the right has sloping shoulders and a long, full skirt, reflecting the prevalent 1950s silhouette. Hats were either small pill-box styles or large brimmed, saucer-like hats. During the First World War and through to the 1930s many women entered the work force for the first time, and wanted to reflect their new independence in the way they dressed. The torso is moulded by a rigid whalebone corset into an hourglass shape with astraight, flat abdomen. 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. False hair pads ('transformations') were often used, and the hats were anchored with long pins stuck through the hat and the real and false hair (safety guards shielded the sharp hat-pin points). Henry Haley produced several cover designs for this popular publication in the 1920s. This photograph is by fashion photographer John French. There is a train, but no bustle. UK.
Baroness Helen Bachofen von Echt wore it to a party in New York where she danced with Frank Sinatra.
7699-1938. This hairstyle was worn under vast, broad hats with shallow crowns, heavily trimmed with flowers, ribbons and feathers. This dress was designed by the fashion house Callot Soeurs. Barbara Hulanicki, the designer, recollected in her autobiography, A to Biba: 'The skirts were only 10 inches long. During this decade, frilly, puffed blouses and fluted skirts continued to be popular. Its fresh youthful style conjures up images of summer holidays during the years before the First World War (1914-1918). The House of Worth, established in Paris in 1858 by Charles Frederick Worth (1826-95), was the original and founding couture house. Pierre Balmain (191482) opened his couture house in 1945. These were known as combinations and became very popular in the 20th century.
Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. T.27-1997Worn and given by Mrs Margaret Stewart. Its fresh youthful style conjures up images of summer holidays during the years before the First World War(1914-1918). After a brief career in engineering, he turned to fashion and worked with Balenciaga from 1949 to 1961. Sporting ensembles like this were created in warm, tailored tweeds, with skirts that were off the ground and not too voluminous. It is decorated with lace, frills and pin-tucks, to give a soft and feminine appearance. HousedressUtility Scheme1942LondonPrinted cottonMuseum no. The celebrities shown here are easily dated to the 1960s because of their hair and make up. (Mrs Humphry, 'Manners for Men', London 1897). It shows a man in evening dress, with tails and a top hat.
1960s This suit was worn by HRH The Duke of Windsor. The matching shorts are worn under the dress and are not visible. Elsa Schiaparelli (1890-1973) enjoyed the enormous publicity that her more bizarre creations generated, but her less provocative designs rarely caused a furore and have been somewhat neglected. T.60-1942Given by the President of the Board of Trade.
JF6647/13. The bride wears a typical 1930s wedding dress, which features a long train, high-neck and long sleeves, with rather squared shoulders. An inner net bodice fastens at the centre front with a row of minute lawn-covered buttons and loops. Suit (trousers and jacket)Utility Scheme1942LondonTailored woolMuseum no. DressLucile (Lady Lucy Duff-Gordon, 1863-1935)1910-2, LondonBlack silk crepe, edged with bands of black and cream silk, the neck fitted with machine-made black laceMuseum no.
The coats illustrated here are typical of the 1950s. Patou died in 1936, and his brother-in-law, Raymond Barbs, took over the business. SuitLachasse1948-9LondonWool, silk crepe de chine, and silk jerseyMuseum no. Evening ensemble (dress and shoulder cape)Gabrielle 'Coco' Chanel1937-8, ParisSatin, embroidered with sequins, with satin panels and sashesMuseum no. E.3036-2004Bequeathed by Ilse Bing Wolff. Their reputation for micro-minis started almost by accident following a shipment of jersey skirts in 1966. PH.210-1985Copyright Estate of Baron de Meyer.
T.261-1988Given by Zika Ascher. Most collars were starched and upstanding, with the corners pointing downwards. A heavy ribbed silk petticoat supports and defines the skirt. Trousers were very wide, with turned up hems and sharp creases down the leg. Delivery time may vary depending on store and country. The few garments designed by Nabob in the V&A's collection are made from imported 'exotic' materials. Its a thicker material so its not too sheer in the white color shown below. The coat is straight and rather tubular, with a dropped waist, reflecting the androgynous silhouette of the decade. T.334-1978. She wears a full, mid-calf length skirt with several petticoats underneath for volume, teamed with a colourful cardigan. The morning coat originated in the single-breasted tailcoat worn in the early 19th century. Evening dressPaul Poiret (1879-1944)1933LondonSatin and silk velvet, trimmed with diamante bucklesMuseum no. It changed in shape over time and a range of different styles appeared as the century progressed. However, fashionable women (even suffragettes) continued to wear these extravagant creations. E.3224-2004Presented by Mrs Pamela Joan Gordon in memory of her father, George Frederick Willetts (1893-1961). 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. It was featured in French Vogue (March 1966 and March 1967). (Teddy derives from Eddy, a diminutive of Edward.). Though couture clothing like this was out of most women's reach, it inspired more affordable fashions. 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. In 1914 he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer.
Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. Evening dressVictor Stiebel (1907-76)1950sLondonSatin embroidered with beads and rhinestonesMuseum no. I wish it also came in white with black stripes but it does come in other colors. Maybe wait for a super sale or opt for the Target version for the classic look. With great energy and determination Sir Cecil Beaton (1904-1980) contacted designers and the well-dressed elite of Europe and America to create this lasting monument to the art of dress. During the late 1960s there was a craze for wearing second-hand uniforms, usually Brigade of Guards red jackets and various greatcoats. The floral design, by Celia Birtwell, was printed onto imitation paper made by Johnson and Johnson, formed from bonded textile fibres. To emphasise the bust, a large silk velvet bow was set into the low, square neckline and the waist was compressed by a cummerbund-style lower bodice. The models shown here sport typical 1960s styling. A slightly high waistline was fashionable, as was a long tunic-like top worn over an ankle length A-line or 'hobble' skirt (cinched in at the hem). Ossie Clark was one of Britain's most influential fashion designers of the 1960s and 1970s. Such materials were seen by dress reformers as the healthy alternative to silk, which they claimed trapped harmful chemicals close to the skin. By 1906 the vast majority of men dispensed with underwear altogether in the summer months. Vests were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. Maison Laferrire was frequented by aristocrats and others of great wealth, who admired its exquisite designs and fine workmanship. The high-waisted black cashmere kimono-like gown is trimmed with striking notes of purple and a wide draped purple sash of silk crepe. T.74-1974Given by Lady Victoria Wemyss. T.165-1983Worn and given by Baroness Helen Bachofen von Echt. Top hats were still worn by the upper classes for formal wear, though bowler hats and boaters werenow common forgeneral and casualdress. The men have exaggerated side partings and side-burns, whilst the woman has a heavy, straight fringe. 7841-1938. He had previously trained alongside Christian Dior at the couture house of Lucien Lelong. I couldn't sleep, but that little fluted skirt walked out on customers as fast as we could get it onto the hatstands. Its construction appears simple, but the clean lines are achieved by skilled cutting and intricate diagonal seaming. You can discover the latest offers on Attitude Unknown products and save money each time you decide to purchase. She was daughter of the affluent Member of Parliament Sir Thomas Firbank and sister of the novelist Ronald Firbank. The design is signed with the firm's name and probably would have been used as a presentation drawing, for the client to decide which model they wanted to have made. A stroll in a public park was a favourite pastime for the leisured classes, and women especially took it as an opportunity to display their wealth and taste. 