1900 fashion designers


This Moss Bros suit, designed in 1969, is striking in that it is totally unadorned, even the jacket buttons are concealed by a fly front. Just like the middle … During the Edwardian era, it was common for women to wear boned corsets, squeezing waist sizes down to 20 inches or less. Evening dressCallot SoeursAbout 1922ParisPrinted silk voile, embroidered with sequins and beads, and trimmed with laceMuseum no. Moss Bros was founded in the 1850s by Moses Moses. Beaton's photographs of Mrs Simpson in her Mainbocher ensemble were particularly successful. Designers are the celebrities of the fashion industry. It has an alternative matching jacket, a pair of white kid shoes trimmed with ribbon, and white silk stockings, which are not shown in the image. The long straight skirt has a central block of kick pleats at the back, which allow ease of movement. Born in France to Italian parents. They continued to wear face shadowing wide brimmed hats. The little black dress was a classic design. The label also identified it as 'No 16 Original DM 92/10' with a maximum price tag of just under £5.00. Evening dressHardy Amies (1909-2003)About 1955LondonTulle and velvetMuseum no. 1. This example was worn by Elizabeth Payze as a teenager. Waists were cinched and hats grew wide and saucer shaped. known for exaggerated shoulder pads (during 1940's), Adrian partnered with actress Joan Crawford to receive his fame. Coco Chanel was a seamstress who became associated with several wealthy men, one of whom, Arthur (“Boy”) … From 1942 onwards some clothes were made under the government Utility Scheme that rationed materials. There is a blue spandex trimming around the collar, the upper part of the coat, the pockets and the sleeves. The dress consists of five narrow widths of pleated silk hand-sewn into a tube just 47 cm wide. Hair was worn bobbed, sometimes close to the head, and the distinctive cloche hat (a close fitting, bell-shaped hat) was very popular. Influenced by the dada/surrealist movements, she partnered with Salvador Dali to create larger than life lobster prints and shoe shaped hats. Fashion can change rapidly in a short space of time; here is a brief timeline, documenting the evolution of fashion during the 1900s. T.288-1973Given by Mr J. R. H. Cook. In 1914 he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. Hats were either small pill-box styles or large brimmed, saucer-like hats. T.32-1978Given by Mr Fergus Cochrane. Gemerkt von get.google.com. Ungaro’s interpretation manifests itself through bold prints, which became the designer’s hallmark. Some top hats had ventilation holes in the crown. The design is titled 'Model: "Mazurka" ', and a small area of text in pencil describes the colour and fabric of the dress: 'Ice-blue slipper satin braided in white. T.198-1970Given by Lord and Lady Cowdray. Although at first ridiculed, many of the decorative features of ‘Aesthetic’ dress were absorbed into mainstream fashion by the 1890s. Despite the simplicity of the image, it communicates glamour. Fashion: 150 Years Couturiers, Designers, Labels The War of the Worlds - Krieg der Welten Wir vom Jahrgang 1950 - Kindheit und Jugend (Jahrgangsbände): 70. Teenagers began to appear as a separate group during the 1950s. S.137:417-2007. 13 October 1825, British. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. How did Coco Chanel become famous? As the 20th century dawned and the Edwardian age began, fashion belonged only to the privileged few. A fashionable young woman would have worn this garment either as a mini-dress or with trousers. Mrs J. J. Astor and forms part of the Cecil Beaton Collection, brought together by the society photographer Sir Cecil Beaton (1904-1980). Grey flannel suits were common, worn with shirt, tie and pocket handkerchief. Although the designers of individual pieces were not publicised, this suit has Digby Morton's initials inked on a paper tag. The line was simple and uncluttered and few trimmings or accessories were worn. There is a train, but no bustle. T.375&A-1988. Couturier clothing like this was custom-made for each individual client from the finest materials, and was out of most women's reach. 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. T.71-1982. Test. Oct 23, 2017 - Explore Nadine Baylis 1's board "1900's Designers", followed by 1040 people on Pinterest. They were often initialled with the name of the owner so they could be recognised during the laundry process. Mini-dressBiba (Barbara Hulanicki; born 1936)1967LondonPrinted cottonMuseum no. They sport bouffant styles, back-combed for a full, bee-hive shape, and heavy fringes. Suits like this would have been worn for daywear and for travelling, and would have been worn with a hat and a fashionable fur stole, Evening ensemble (dress and coat)Peter Russell1937London(Coat) Interlined with undyed wool and lined with silk faille; (Dress) Pleated pale pink matt crepe, embroidered with beads and diamanteMuseum no. Designers are the celebrities of the fashion industry. T.169-1960Given by B.W. This ensemble shows Courrège's architectural approach to fashion: the use of geometrical shapes, minimalist details and colour. T.21&A-1983. T.32-1960Worn by Miss Heather Firbank. Its distinctive features were a box pleat at the centre back and another passing down each forepart. T.57-1942Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing. 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). Worth London was an offshoot of the original. … He preferred to purchase his sporting dress in England as he considered it to be the best quality. In his book 'The Little Dictionary of Fashion' (1954) Christian Dior (1905-57) described cocktail dresses as ‘elaborate and dressy afternoon frocks’, preferably in black taffeta, satin, chiffon and wool. Many items were shown in an exhibition at the V&A in 1960. T.89-1982Worn by Mrs Opal Holt, and given by Mrs D.M. T.720-1974Given by the Earl and Countess of Avon. 11) encouraged women in the early 1900s to dress individually, encouraging the aesthetic dress of the period. Until the beginning of the 1960s youth quake, daughters had no alternative but to dress like their mothers. The previous century had produced crinolines, bustles, polonaises, dolmans, abundant frills and furbelow’s of every description. Costume (skirt and jacket)John Redfern (1853-1929)About 1911LondonWool flannel with black velvet and silk liningMuseum no. 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. Often lined with feathers, huge broad-brimmed hats were popular mid decade. God, I thought, we'll go bust - we'll never be able to sell them. It was made by Charles Frederick Worth (1825-1895), a celebrated Parisian couture dressmaker. The S-bend corset was fashionable during the 1900s. Unabhängige Urteile durch Dritte sind der beste Beleg für ein hochwertiges Produkt. When offering this day dress to the Museum in August 1942, Sir Thomas Barlow explained that it conformed 'in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'. The draped fabric knot is inspired by 19th-century dress, and is typical of Dior's historicism. This simple 'seaside' dress formed part of Miss Heather Firbank's wardrobe. Fashion designers may design the items for an individual, or for the mass market. Chanel started in fashion after failing to find work as a singer. Mrs J. J. Astor. 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. There are two sets of fine pleats on the front of the skirt, which flares out slightly towards the knees. This style of delicate pale dress was immensely popular for wear at summer garden parties and fêtes. The dress has a sleeveless bodice with a low-cut neckline. DressJeanne Lanvin (1867-1946)1922-3ParisBlack silk taffeta trimmed with machine-embroidered silk chenille and cream silk georgette bows and bandsMuseum no. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. His collar is not starched up, but is turned down over his tie. It was a distinctive garment since it was often quilted and decorated with silk cord or braid frogging. Golfing attire was particularly colourful, as this extract from Golf by Horace Hutchinson suggests: In the matter of Norfolk jackets and knickerbockers, spats and particularly coloured stockings, checks and stripes, the golfer is a bird of bright and varied plumage.'. T.176-1986Given by Diane Meyersohn. Paul Poiret (1879-1944) was born in Paris. They wore feathers, lace, and pearls. He was asked to disguise the 'CC' so that the public would not recognise the letters as such. Hair was long and straight or worn in a shaped bob or wedge. Echoing these concerns, ‘Aesthetic’ dress of the 1870s rejected the fussy and upholstered look of women’s fashion. The torso is moulded by a rigid whalebone corset into an hourglass shape with a straight, flat abdomen. 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. Day dress and jacketEmmanuel Ungaro (born 1933)1966ParisWool gabardine, lined throughout with surah, with a zip and hooks and eyesMuseum no. Callot Soeurs was also known for its use of lace and decorated sheer fabrics. Also, designers introduced embellishments like bold prints and surface decorations in an attempt to break away from the minimal adornment of the bias-cut line. Jackets were narrow with small, high lapels. Charles Frederick Worth . The lounge suit became popular during the 1860s because of its easy comfort. He opened branches in London (1881), Paris (1881), New York (1884) and Rhode Island (1885). T.57 to B-1962Given by Mrs B. M. Bohener. The practice came to an end around the time of the First World War. This was a really fun school project and I thought I would share it with you. Four Portraits of Halston, Andy Warhol, 1975, Private Collection . Schiaparelli gave this dress to the V&A after her retirement. 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. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. Barbara Hulanicki launched the Biba label with her husband John Fitz Simon in 1963, initially selling clothes by mail order through newspaper advertisements. They channel their visions into namesake lines, revive old houses, and build total lifestyle brands. Pierre Balmain (1914–82) opened his couture house in 1945. She was the sister of Jackie Kennedy and a regular figure on the social scene of both sides of the Atlantic. The coat on the left hangs from the shoulders, and would have been worn over narrower pencil skirts or day dresses. T.159&A-1969Given by Mrs Brooks. Day dressPaul Poiret (1879-1944)1924ParisFine flecked worsted, trimmed with rayon braid and tassels, machine stitched and hand finishedMuseum no. The fashionable silhouette in the early 20th century was that of a confident woman, with full low chest and curvy hips. His voluptuous first collection featured hand-span waists above enormous skirts. It is shorter at the front than at the back, combining the formal grandeur of traditional ballgowns and the fashion for short eveningwear typical of the late 1950s. Cocktail dresses gained a new popularity after the Second World War. Vogue, Evening dressCharles James (1906-78)1938-9USA or London or ParisPrinted silkMuseum no. Women wore pale foundation and emphasised their eyes with kohl, mascara and false eyelashes. The simple silhouette meant that it could be worn either as a dress or with trousers. After 1945 many men leaving the armed forces were issued with a 'de-mob' suit, consisting of shirt, tie, double-breasted jacket and loose fitting trousers. In 1921 Heather Firbank's clothes were packed into trunks and put into storage, where they remained for the next 35 years. They were cheap and disposable, and the simple 2-D shape was ideal for the bold graphic prints that were so fashionable. The Board of Trade commissioned the design for this jacket, skirt and blouse from the Incorporated Society of London Fashion Designers. T.25-2007. Fashion designer Many Quant influenced the rise of miniskirts during the 1960s. Many men preferred to have the vest and pants combined in one. Both were albumen prints made from glass negatives, attached to stiff card backing printed with the photographer’s name. Diaphanous silks were usually worn with matching petticoats, or laid over the foundation of the dress. Separates were popular, especially waist length cardigans. DressCharles Creed (1909-66, designer), for the Utility Scheme1942LondonRayon crepe, with buttonsMuseum no. 1840s fashion is characterised by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. Some images used in this set are licensed under the Creative Commons through Flickr.com.Click to see the original works with their full license. T.96-1963Given by Sir Phillip and Lady Joubert. Lounge suit (jacket, waistcoat, trousers)Designer unknown1918-20Great BritainWoven tweed with a vertical stripe; (Jacket) Lined with twill ; (Waistcoat) Lined with linen with a narrow black and wider brown stripeMuseum no. 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. Its stark, simple lines suited her elegant, uncluttered style. This dress dates from about 1955, when Owen Hyde-Clark was the chief designer. Design for an evening dressField Rhoades (Marjorie Field)1940sLondonPencil and bodycolour on paperMuseum no. Popular in the 1920's. The 1930s silhouette is therefore slinky and close-fitting and the line was simple and uncluttered, with few trimmings or accessories. E.476-2005Given by Paul Williamson. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that most people would be able to buy. 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. Paco Rabanne led the field of radical experimentation in elite fashion design in the 1960s. Using techniques borrowed from jewellery, he created sculptural dresses in unconventional materials which broke all the rules. 1900’s in fashion for women. Designed for the avant-garde New York boutique 'Forward Look', this dress was worn by Princess Stanislaus Radziwill. The short, semi-circular cape has a scarlet satin lining. One of Crawford’s widely influential pieces was a white organdy dress with ruffle adornments. 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. Couturier clothing like this was custom-made for each individual client, and was out of most women's reach. The men have exaggerated side partings and side-burns, whilst the woman has a heavy, straight fringe. Top Fashion Designers Who Make Clothes for Petites. The ensemble was worn by Viscountess Brackley, née Miss Violet Lambton, who became the Countess of Ellesmere (1880-1976). The dress has a simple collar and spotted cravat. This dress is typical of very early 1900s eveningwear. Helped to bring a hollywood style fantasy to those in need of an escape from economic troubles. Pullovers were previously worn for informal and sporting occasions but they gradually became integrated into mainstream fashion. Like Courrèges, Ungaro sculpted hard-edged clothes in heavy worsted fabrics and triple gaberdines. One of the earliest works by Mary Quant in the V&A's collection, this shift illustrates how she broke with convention and made clothes specifically for young customers. This photograph shows the 1950s pop singer, Lita Roza, in fashionable '50s dress. She wears a  full, mid-calf length skirt with several petticoats underneath for volume, teamed with a colourful cardigan.  Her hair is cut fashionably short, and she wears bright red lipstick. Jean Patou (1880-1936) was born in Normandy, France, the son of a tanner. 7914-1938Given by Helena Hollyer, 1938. JF6897/4. Along with bicycling and croquet, golfing was a very popular sport with women of the 1900s. Simple dresses were teamed with short capes, boleros or jacket, and sequins were a favourite way of adding glamour to an outfit. Hats reached an immense size in the early 20th century. The label was famous for murky colour palettes, but they also produced some strikingly colourful garments. Tunic mini-dressOssie Clark (designer, 1942-96), and Celia Birtwell (textile designer, born 1941), for Radley (retailers)1968LondonPrinted cottonMuseum no.T.141-1994Given by Kay Clark. 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. This was referred to as the “plume boom” in fashion, as it became popular to wear real feather in hats. 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. The House of Worth, established in Paris in 1858 by Charles Frederick Worth (1826-95), was the original and founding couture house. PLAY. T.258-1990Given by Linda Lloyd-Jones. This example was drawn by a commercial artist at the little-known Roseland Studio in the 1920s. In 1910 the kimono sleeve was open, loose, and comfortable. Was für eine Intention visieren Sie mit Ihrem 1900 fashion an? It needed many layers of petticoats to fill the skirt and show the embroidery to its best advantage. Evening dressVictor Stiebel (1907-76)1950sLondonSatin embroidered with beads and rhinestonesMuseum no. Im 1900 fashion mens Test konnte unser Testsieger in den wichtigen Eigenarten gewinnen. This pair of ladies' evening shoes, in gold kid, is painted and lined with grey kid. Many of his photographs from this period document high fashion - the women he chose to photograph were the wealthy and well-to-do, dressed in the latest fashions, wearing furs and extravagant hats trimmed with feathers. Another popular silhouette was the narrow pencil-skirt look. The 1930s silhouette is therefore slinky and close-fitting, with fluted skirts and features like scoop backs. The late 1960s celebrity boutique phenomenon saw popular teenage idols launching clothing lines and boutiques. It illustrates the creme de la creme of fashion designers. Though Poiret made a formidable impression on early 1910s fashion, he was by no means the only prominent designer. SuitEdward Molyneux (1891-1974, designer), for the Utility Scheme1942LondonTailored tweed checkMuseum no. SuitMoss Bros1969LondonWool twillMuseum no. She purchased Worth gowns between 1947 and 1962. She wore it over a long white crêpe dress with a sequin sash matching the jacket (American Vogue magazine, 1 June 1937, pages 52-57, British Vogue, 9 June 1937, pages 54-56). Horrockses’ cotton dresses, with their brightly coloured prints and full gathered skirts, were a fashion success story in the period after the Second World War. The skirt is made of pleated lustrous silk taffeta. Hair was cut very short at the sides, parted severely from the centre or the side and smoothed down with oil and brilliantine, or combed back over the top of the head. Inside one of the pockets are a piece of paper giving the monthly rainfall for the year 1900, a stamp, metal pin and a piece of string. The house of Lucile was renowned for its asymmetrical styles, of which this matt black silk crepe dinner dress is a perfect example. It includes designers of haute couture and ready-to-wear.. For haute couture only, see the list of grands couturiers.For footwear designers, see the list of footwear designers Men had previously worn under-waistcoats for extra warmth. T.57-1961Given by Lady Hoyer Millar. 'Peachy' dressMary Quant (born 1934)1960LondonWoolMuseum no. ', Design for a suitField Rhoades Ltd (Marjorie Field)1940sLondonPencil and bodycolour on paperMuseum no. This youthful summer dress has a boned petticoat, with a full tulle skirt typical of the 1950s. Any fullness in the skirt was confined to below the knee. 19 August 1883, French. Day dressEdward Molyneux (1891-1974, designer) for the Utility Scheme1942LondonRayon crepe, with matching composition buttonsMuseum no. 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