This fashion plate is from the journal 'Gazette du Bon Ton'. She also created extravagant evening wear such as this sequinned dress and cape. Because soccer player haircuts are some of the best short, medium and long men's hairstyles. Steichen photographed , ca.
By the vast majority of men dispensed with underwear altogether in the summer months. Evening dress Jays Ltd. The dress is dominated by the boldly embroidered panels imported from Turkey and made up in London. In style this dress is transitional between the pronounced curved shapes of the early s and the straighter lines with high waists that had become current by about There is some evidence that an earlier dress may have been adapted to suit the tastes of The inside of the bodice has a grosgrain waist stay grosgrain is a heavily ribbed silk with the woven label of Jays Ltd, which bears a taffeta ribbon marked 'Lady Pearson', the name of the wearer.
In the early 19th century the top hat was the predominant type of headwear in a gentleman's wardrobe. It reached its peak of popularity during the s and s, when mass manufacturing and industrialisation brought fashionable dress within the reach of a much wider section of the population. During the second half of the century new informal styles, such as the straw boater and soft felt hat, as well as the more formal bowler hat, challenged the predominance of the top hat.
By the s the top hat was relegated to more formal occasions when a gentleman would wear a frock or tail coat. Churchgoers still, to a certain extent, affect it, but in these days of outdoor life, bicycling, and so on, the costume worn by men in church is experiencing the same modifications that characterise it in other department.
The shape of the top hat appeared at the end of the 18th century. It changed in shape over time and a range of different styles appeared as the century progressed. The gibus or collapsible top hat came into fashion in the s and was often worn with evening dress. It was made of corded silk or cloth over a metal framework which sprung open with a flick of the wrist.
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. Some top hats had ventilation holes in the crown. In the late 18th century and first half of the 19th century top hats were known as 'beavers'.
This is because they were made of felted beaver fur wool. In Henry Mayhew's London Labour and the London Poor reported that 'the bodies of beaver hats are made of a firm felt wrought up of fine wool, rabbit's hair etc. Contact with mercury often had detrimental effects on the hatters and led to the phrase 'mad as a hatter'. By the late 19th century most top hats were made of silk. Evening dress Maison Laferriere About , Paris Figured satin, decorated with imitation pearls, diamantes and spangles; net is modern replacement Museum no.
This elegant evening dress was designed by the famous Paris fashion house Maison Laferrière, located at 28 rue Taitbout in Paris.
Maison Laferrière was frequented by aristocrats and others of great wealth, who admired its exquisite designs and fine workmanship. This dress was worn by Princess Alexandra of Denmark the future Queen Alexandra , who was considered to dress with exemplary taste.
It is an example of the highest standards of design and dressmaking, utilising the most luxurious materials. Though most women would not have been able to afford a dress from a couture house, many would emulate the Princess' style. The dress exposes the décolletage, shoulders and arms, and the long skirt is fitted around the hips and fluted towards the hem.
Norfolk jacket Designer unknown About Great Britain Checked tweed, with sateen and striped cotton lining and buttons of horn, hand- and machine-sewn Museum no. The Norfolk jacket was a versatile garment which became an important item in a gentleman's wardrobe. It was originally worn by the Rifle Corps in the Volunteer Movement of and was adapted for shooting costume during the s. It was initially known as the 'Norfolk shirt' and was at first strictly reserved for country wear.
With the growth in leisure activities and sporting pursuits during the s and s the Norfolk jacket became acceptable for any form of outdoor exercise, 'being especially suited for bicycling, business, fishing, pleasuring, and the moorland' Tailor and Cutter, April 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.
This example was probably worn for general country wear. Inside one of the pockets are a piece of paper giving the monthly rainfall for the year , a stamp, metal pin and a piece of string.
By the s conventions had become so relaxed that smart young men were seen wearing Norfolk jackets even in the city. The Norfolk jacket was often made of Harris tweed and homespuns. It was frequently teamed up with matching knickerbockers and a soft cap such as a deerstalker.
Its distinctive features were a box pleat at the centre back and another passing down each forepart. It also had a belt made of the same material. Women wore close-fitting versions of the jacket for sports, country wear and even fashionable dress. The jacket also appears in illustrations for the dress of young boys from onwards.
Vest Designer unknown Great Britain Machine-knitted silk, with silk placket and pearl buttons, hand- and machine-sewn Museum no. Vests became fashionable during the s and were often described as 'undershirts'.
Men had previously worn under-waistcoats for extra warmth. Vests and pants were worn next to the skin under the shirt or trousers. By a range of styles was available, including ventilated waistcoats of lambswool with perforations under the arms, silk undershirts and vests made of lambswool.
Vests were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. Undervests of natural coloured wool or cellular cotton were also popular, as these fabrics allowed the skin to breathe. Ball gown Charles Frederick Worth About , Paris Silk velvet, trimmed with diamante; petticoat, sleeves and neck edgings are modern replacements in the style of Worth Museum no.
There is a train, but no bustle. It was made by Charles Frederick Worth , a celebrated Parisian couture dressmaker. He was born in Bourne, Lincolnshire, and started working at the age of 12 in a draper's shop in London. Eight years later he moved to Paris, where he opened his own fashion house in He was soon patronised by the Empress Eugenie and her influence was instrumental to his success.
His clothes, admired for their elegance and fine workmanship, became an important symbol of social and financial advancement. Summer day dress Designer unknown Great Britain Printed striped cotton, with a yoke neck of tucked Broderie Anglaise frills and pin-tucked collar with a tape lace frill Museum no. The bodice is ruched and draped to create a low, puffed chest shape that was very fashionable in the s, especially around Travelling gown Designer unknown , Great Britain Woollen face cloth, trimmed with braid and velvet, and inserted with panels of net and machine-made lace Museum no.
Pastel colours combined with cream were greatly favoured by fashionable Edwardians. This costume shows how designers of the period lavishly adorned plain cloth with a variety of rich trimmings.
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. This report was accompanied by a sketch showing the wedding-gown, travelling costume and bridesmaids' dresses. The smoking jacket was a short, easy- fitting coat, cut in the style of a lounge jacket. It was a distinctive garment since it was often quilted and decorated with silk cord or braid frogging. It could be single- or double-breasted.
Soft materials were used such as silk, velvet or wool in dark reds, greens, blues, brown or black. This smoking jacket and matching trousers appear to have been made out of handkerchief silk as the pattern is not continuous.
The fabric was probably made in India for the European market. The popularity of the smoking suit shows how sartorial rules were relaxing in the late 19th century.
The smoking jacket was often worn in place of the dinner jacket for an informal evening at home. It was worn with day trousers, evening trousers and sometimes as in this example with matching easy-cut trousers. The trousers on this suit are adjusted with a buckle at the back, but trousers could also be secured by a girdle at the waist like pyjama trousers.
The smoking jacket was still popular in the early 20th century. In the Austin Reed catalogue announced an updated version of the smoking jacket, named the television jacket. This did not become a widespread fashion as by this date few men felt the need to wear a special garment for watching television or smoking. During this decade, frilly, puffed blouses and fluted skirts continued to be popular. 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.
During World War I —18 , women adopted practical, working clothes and they sometimes wore uniform, overalls and trousers. This hairstyle was worn under vast, broad hats with shallow crowns, heavily trimmed with flowers, ribbons and feathers.
Towards the end of the decade, younger women sported short bobs. The three-piece lounge suit was commonly worn, but from to the end of the decade, many men were photographed in military uniform. Hair was worn parted at the side or the middle. Older men sported beards, but younger men wore moustaches or went clean-shaven. Hats reached an immense size in the early 20th century.
This very fashionable example from is made of a fine black straw. It has an outsize crown, which would have been supported by the piled-up hairstyles of the time. Long hat-pins would have secured the hat to the hair.
Hats were often lavishly trimmed, and with its mass of purple cotton artificial flowers, this is no exception. A scene such a this showing fashionably dressed women out walking with their dogs, or with friends, was a favourite subject for the photographer Lartigue. 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.
These women are also wearing the fashionable 'hobble' skirt - a long skirt that cinches at the lower leg and ankle. 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.
Dress Lucile Lady Lucy Duff-Gordon, , London Black silk crepe, edged with bands of black and cream silk, the neck fitted with machine-made black lace Museum no. The house of Lucile was renowned for its asymmetrical styles, of which this matt black silk crepe dinner dress is a perfect example. Set into a high waist, the bias-cut skirt is softly swathed over the left hip and the hem is extended into a triangular train.
The cross-over bodice has a plunging V neck fitted with a machine-made black lace, while bands of cream and black silk decorate the neck and cuffs.
The dress is a half-mourning dress, meaning that it was worn in the later stages of mourning. Mourning etiquette was well controlled and what could be worn at each stage was rigidly prescribed. It depicts youthful fashions. The man's suit is less formal than those of previous decades.
His blazer is shorter than long Victorian frock coats, and resembles a modern 3-piece suit. His collar is not starched up, but is turned down over his tie. His dancing partner wears a dress typical of the decade - a long tunic-style top, belted at the waist over a relatively slim ankle-length skirt. Day dress Designer unknown England Linen, with silk organza collar and cuffs and silk twill bow Museum no.
This simple 'seaside' dress formed part of Miss Heather Firbank's wardrobe. The dress has a simple collar and spotted cravat. Cravats and foulards were popular at the time on blouses as well as dresses. They were inspired by earlier masculine styles in neckwear. In August The Queen magazine described 'the prettiest style of Robespierre collar, finishing with a Latin Quartier cravat of blue and white birds-eye spot silk'.
In Heather Firbank's clothes were packed into trunks and put into storage, where they remained for the next 35 years. This collection forms an invaluable record of a stylish and wealthy woman's taste between about and It was called 'Lady of Fashion: Heather Firbank and what she wore between and '.
Dress John Redfern , London Museum no. The high-waisted black cashmere kimono-like gown is trimmed with striking notes of purple and a wide draped purple sash of silk crepe. 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.
The gown wraps over and fastens along the left front with tiny press-studs under a line of blind buttonholes with pendant buttons. Evening dress Designer unknown About Great Britain or France Silk chine and silk voile, brocaded with metallic threads, and trimmed with mauve satin, diamantes, imitation pearls and bobbin lace Museum no. Before the outbreak of First World War in , which all but smothered the market for luxury goods, couturiers created evening clothes that were complex assemblages of luxurious materials and trimmings.
They were often, as with this evening dress, constructed with multiple layers of diaphanous fabrics trimmed with metallic threads, pearls and diamantés to catch the light.
Costume skirt and jacket John Redfern About London Wool flannel with black velvet and silk lining Museum no. This elegant grey flannel two-piece ensemble is called a 'costume'. Coat-and-skirt ensembles such as this would not have been considered suits until after the First World War. During the early s, fashionable women wore slim skirts and neatly fitted blouses, often under quite loosely fitted coats and jackets.
This outfit would have been worn as a walking suit. This is a typical example of a gentleman's morning suit. In the early years of the 20th century it would have been worn as everyday dress by professional and business gentlemen, as well as for formal occasions. It was said to have been worn at the donor's wedding by her father.
The morning coat originated in the single-breasted tailcoat worn in the early 19th century. This was also known as the riding coat, or 'Newmarket'.
By the s the coat was shaped halfway between a riding coat and a frock coat. It was usually single-breasted and was known as the 'cutaway', as the fronts sloped away elegantly to the broad skirts behind. After the First World War the morning suit was gradually superseded by the lounge suit for everyday wear, though it continued to be worn by older men.
Around , leading fashion houses such as Worth created evening dresses with a straight silhouette. Their impact depended on the juxtaposition of colours and a variety of luxurious and richly decorated fabrics.
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. The pillar-like look exemplified by this dress replaced the exaggerated curves of the early s. It also shows how designers broke the strong vertical emphasis by creating overskirts with horizontal lines.
The bodice, however, is still boned nine bones. Charles Frederick Worth was a celebrated couture dressmaker in Paris.
After working for various haberdashers and silk mercers, he left for Paris in In he went into partnership with a Swedish businessman, Otto Bobergh, and opened his own house. Obtaining made-to-measure clothes from his house was a symbol of social and financial success. They were appreciated for their beauty, elegance and fine workmanship.
Day dress Designer unknown About England Museum no. This garment reveals the fashionable elements of dress immediately before World War I The line is straight and the cut especially of the cross-over draped bodice is intricate. Rows of non-functional tiny buttons were frequently used as decorative motifs in this period. The bodice is lined with white cotton with ruffles attached to give fullness at the bust and has a stiff, silk-faced waistband. It was not made by one of the top houses, for it is probably a copy by a good dressmaker of a Paris model.
Side saddle riding habit jacket, skirt, breeches John Redfern , London Black wool flecked with white, lined with pearl grey satin jacket and cotton twill skirt ; breeches of woollen jersey Museum no. Stewart and Mrs I. The construction of riding-habits is a highly specialized branch of the tailor's art. Because riding-habits are subject to considerable stress, the emphasis throughout is on firm and accurate construction. Seams that take strain and might rub are lined and reinforced with black cotton, and buttons are backed with cotton.
John Redfern was born in England about In the s he began designing beautifully constructed and practical tailored garments to meet the needs of women engaging in various sports, from yachting and tennis to archery and riding. His designs were adopted by royalty, actresses and fashionable women for everyday wear as well as for sports. He closed his fashion houses in They were resurrected in , but closed again in Summer day dress Designer unknown About France White lacis needle lace and embroidered lawn, with macrame fringe and bobble trim; fastened around the waist with a ribbon belt Museum no.
This style of delicate pale dress was immensely popular for wear at summer garden parties and fêtes. 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. An inner net bodice fastens at the centre front with a row of minute lawn-covered buttons and loops. The fashion current between about and for enormous hats was ridiculed in the popular press. However, fashionable women even suffragettes continued to wear these extravagant creations.
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.
The dress was given to the Museum by the Hon. Astor and forms part of the Cecil Beaton Collection, brought together by the society photographer Sir Cecil Beaton With great energy and determination, Beaton contacted the well-dressed elite of Europe and North America to help create this lasting monument to the art of dress. The Collection was exhibited in , accompanied by a catalogue that detailed its enormous range.
Its fresh youthful style conjures up images of summer holidays during the years before the First World War Lounge suit jacket, waistcoat, trousers Designer unknown Great Britain Woven tweed with a vertical stripe; Jacket Lined with twill ; Waistcoat Lined with linen with a narrow black and wider brown stripe Museum no.
The lounge suit became popular during the s because of its easy comfort. 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.
By the s the jacket was worn with matching waistcoat and trousers and had become popular for informal wear. In the early 20th century it replaced the frock coat and the morning coat. The owner of this lounge suit was Sir Max Beerbohm , the English essayist, caricaturist and master of a polished prose style. At the very beginning of thes it was fashionable for women to wear high-waisted, rather barrel-shaped outfits, and tunic-style tops were popular.
However, between the waistline dropped to hip level, obscuring natural curves for a tubular, androgynous look. Young, very fashionable 'flappers' wore their hems at knee level, with neutral coloured stockings and colourful garters. Hemlines drifted between ankle and mid-calf for the duration of the decade. Jewellery was prominent, including large brooches and long strings of pearls. Hair was worn bobbed, sometimes close to the head, and the distinctive cloche hat a close fitting, bell-shaped hat was very popular.
Men wore narrow-cut lounge suits, with pointed collars turned down, and plain or simply patterned modern knot ties. Cloth caps were popular amongst the working class, though trilbies or homburgs were worn by the middle classes. 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. This fashion plate is from the journal 'Gazette du Bon Ton'.
The journal featured articles about theatre, travel and other pursuits of interest to the leisured wealthy, but the main emphasis was always on fashion. It was published from November to the summer of , and again from January to December The complete run consisted of 12 volumes. It was intended for the Parisian elite, and introduced fashions in colour plates such as this one. The contributors included many prominent artists of the time, and the colour plates anticipated the Art Deco style that was to dominate the s.
The illustrations were stencilled by hand with watercolour, in a technique known as pochoir. It shows a man in evening dress, with tails and a top hat. It is a simple and effective image of a tall and elegant man smoking.
The only splash of colour is his yellow glove. Despite the simplicity of the image, it communicates glamour. This is a design for the cover of 'Pearson's Magazine'. Henry Haley produced several cover designs for this popular publication in the s.
It clearly appealed to a largely female readership. Here Haley uses the image of a woman driver to represent a modern outlook and an independent lifestyle. She is wearing a fashionable cloche hat and sports a bob. The company made paper bags, card boxes, labels and tickets for a range of different clothes stores. Sometimes they employed artists to illustrate these items. This example was drawn by a commercial artist at the little-known Roseland Studio in the s.
It shows a glamorous young woman wearing an elegant fur-trimmed suit, together with the latest cloche hat and bobbed hair. Her outfit is tubular with a drop-waist, reflecting the rather androgynous styles of the decade. Such an image was clearly designed to appeal to fashionable customers and to reflect well on the clothes store which used it. It shows a glamorous young woman wearing a fur-trimmed coat in the latest style, together with a cloche hat and bobbed hair.
The coat is straight and rather tubular, with a dropped waist, reflecting the androgynous silhouette of the decade. Photograph, fashion study Baron de Meyer Museum no.
This fashion study shows two models at a garden table, sporting wide brimmed summer hats over fashionable bobbed hair. Their dresses featured dropped waists and a straight silhouette, typical of the decade, when busts were flattened and curves disguised.
Liberty's - a trendsetting fashion store in Regent Street, London - opened their dress department in under the guidance of the designer and former architect E. Godwin , a crusader for dress reform. This coat was especially designed and made for Mrs Hazel Moorcroft. The block-printed design of the lining fabric first appeared in about and was constantly re-issued - most recently in the s. The cloche hat worn with it here is very typical of the s.
Evening dress Callot Soeurs About Paris Printed silk voile, embroidered with sequins and beads, and trimmed with lace Museum no. Superb materials and top-quality workmanship combine to create this stunning evening dress. Light-reflecting beads and sequins had long been popular decoration for evening fabrics, but in the s the fashion reached its peak. The embroidery follows the lines of the printed floral design to enhance the pattern and catch the light.
This dress was designed by the fashion house Callot Soeurs. Four sisters, Marie, Marthe, Regina and Joséphine, had opened a lace shop in The eldest, Marie Madame Gerber , developed the couture side of the business at 9 avenue Matignon, Paris, where it continued until the mid s. The sisters worked with exquisite and unusual materials, including Chinese silks and rubberised gabardine.
Callot Soeurs was also known for its use of lace and decorated sheer fabrics. This pair of ladies' evening shoes, in gold kid, is painted and lined with grey kid. The s produced some of the most exciting shoes of the century, with tremendous variety in cut, colour and ornamentation. Most shoes were high-heeled, even for dancing, necessitating straps over the instep.
Bright colour mixes reached a peak by Evening ensemble Nabob About London Silk georgette, the belt embroidered with metal thread Museum no. Skirts with handkerchief points were particularly fashionable in the late s. They were forerunners of the longer skirts that became generally accepted by Soft, light-silk fabrics proved ideal for this bias-cut flowing style. Diaphanous silks were usually worn with matching petticoats, or laid over the foundation of the dress.
Afternoon dress La Samaritaine retailers Paris Silk georgette, printed with a floral motif, hand and machine sewn Museum no. This below-the-knee day dress made of printed silk chiffon is slightly gathered at a normal waistline on an elastic band. The skirt has a minutely pleated yoke that runs across the hips. There are two sets of fine pleats on the front of the skirt, which flares out slightly towards the knees.
The printed pattern of waved bands of massed flower-heads is carefully disposed in all pieces of the dress. On the bodice, sleeves and skirt yoke the bands run diagonally, while on the skirt's bias-cut gores they run horizontally. The minute pin-tucks on the bodice, sleeves and skirt are hand sewn. This design is typical of the years following , when flowing summer dresses in gossamer fabrics with floral prints were popular.
Such delicate silks are extremely difficult to handle and sew, demanding a great deal of skill and patience. This sleeveless dress has a low square neckline, which was popular in the the mid s. Its straight bodice is embroidered with a design that reveals the influence of Egyptian patterns. Jean Patou was born in Normandy, France, the son of a tanner.
His uncle owned a fur business, which Patou joined. In he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. His career was interrupted by the First World War of , but in he reopened his salon, this time under his own name.
His collections continued to be a great success. Throughout the s he also consistently championed the shorter length of skirt that did much to stimulate the demand for stockings. His long-waisted evening dresses with their emphasis on luxurious design and rich decoration were worn by famous actresses, such as Louise Brooks, Constance Bennett and Mary Pickford.
Patou died in , and his brother-in-law, Raymond Barbàs, took over the business. In the artistic direction of the company was taken over by Michael Goma. Evening dress suit Charles Wallis Ltd. By the s the full evening dress suit had crystallised into a recognisable and lasting style. It consisted of a tail coat, a white waistcoat and trousers to match the coat. The coat was cut as double-breasted but was always worn open. Changes in fashion did occur, but they affected details such as the width of the lapel or the cut of the trousers.
This suit was worn by the husband of the donor. She dated each item in her collection and also sent the accessories that she considered appropriate for each outfit. Mr Rothfield died in He was a slim, elegantly dressed man, who was meticulous about his dress. Dress Jeanne Lanvin Paris Black silk taffeta trimmed with machine-embroidered silk chenille and cream silk georgette bows and bands Museum no.
Throughout the s Jeanne Lanvin excelled in the creation of ultra-feminine dresses with fitted bodices and long, full skirts, known as robes de style, of which this evening dress is an example. The black fine silk taffeta dress with boat neckline, and small, capped half-sleeves fastens with poppers down the left side. 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.
Paul Poiret was born in Paris. He opened his own salon after serving an apprenticeship for Douçet and working for Charles Frederick Worth He was one of the most creative fashion designers of the 20th century. He also revived fashion illustration, founded a school for the decorative arts and even diversified into perfume. He led the forefront of the artistic fashion movement away from the curvilinear silhouette of the early s towards a longer, leaner line.
His brilliantly coloured, looser clothes, often inspired by the 'orientalist' enthusiasm for Eastern fashions and traditions, were extremely popular. The use of rayon trimmings on this garment is interesting. 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. Braid manufacturers were among the first bulk buyers of artificial silk, and were then joined by hosiery and underwear manufacturers.
By the s an increasing number of couturiers were attracted to the newly available and sophisticated rayon dress goods. The label in this little black dress simply reads 'Lord and Taylor'. This was the name of a prestigious department store on Fifth Avenue in New York. They imported Paris original haute couture high fashion and excellent copies of French models.
They also sold unnamed ready-to-wear American designs. An illustration in the American edition of the fashion magazine Vogue' of 15 April identifies this dress. It was called 'Minuit Sonne' and designed by Drecoll. The dress is made of fine black silk voile and decorated with strass a brilliant paste used for imitation stones. The diamanté butterfly bursting over the hips is a perfect example of the Art Deco style.
The sleeveless design and low, scooped neck would have allowed the wearer to remain cool during even the most energetic dances of the s. And as she danced, the drifting tunic top and the central drapery of the skirt would have flowed with her. The multi-talented Mariano Fortuny was a painter, theatre designer, photographer, inventor and scientist, although he is best known as a creator of extraordinary fabrics and clothes.
In 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. The dress consists of five narrow widths of pleated silk hand-sewn into a tube just 47 cm wide. The neck and sleeves are adjusted to fit by concealed draw-strings, while a black rouleau, threaded with Venetian glass beads, laces the outer sleeves.
The drop-waist androgyny of the previous decade gave way to a slinky femininity in the s. Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular.
Often the dresses had low scooping backs. During the day, wool suits with shoulder pads, and fluted knee-length skirts were worn. Fox fur stoles and collars were popular, as were small hats embellished with decorative feather or floral details, worn at an angle. Hair was set short and close to the head, often with gentle 'finger waves' at the hairline.
Sports and beach-wear influenced fashionable dress, and the sun-tan was coveted for the first time. Men now generally wore three-piece suits for work or formal occasions only. Only the finest quality fabrics are used when creating custom tailored shirts and custom mens suits. We offer exceptional design down to the very last stitch ensuring an end result that fully exceeds your expectations.
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Hand sewn and done to fit and look perfect. Exquisite Attention To Detail. And no matter what pride you take in your hairy chest, save it for the beach. That means crew necks, not V-necks. Finally, to obviate a couple of issues that are normally hushed up, wear thicker, looser or textured T-shirts to minimize nipple show-through and "man boobs" that appear when you don't do your daily push-ups.
Wear a tailored sports jacket. Forget formality — just throw one of these on over jeans and a tee. To give yourself a little contemporary sizzle, however, choose an "unconstructed" style, or at least an updated trim fit with high armholes.
The days of the boxy, bulky blazer are long past. Untuck, half-tuck or layer. Wear casual tees, polos and chambray shirts out over your waistband. If you're too old school for that, tuck in only the front; you'll still get waist definition and feel neat, while concealing any love handles. Another way to hide side bulges — and I'm not saying you have them, you understand — is with a button-down shirt worn open over a tee.
Leave the skinny jeans to millennials and fashion folk; they don't exactly flatter boomer thighs and tushes. Then again, roomy pleated pants have an Old Spice feel, so aim for somewhere in the middle: These have an urban edge but allow you to move and even sit down! Look for broken-in or washed chinos; soft, relaxed cotton twills; or denim with 2 percent stretch.
Finally, feel free to roll the hems; neat, even cuffs are very Upgrade shoes and specs. Jackson and Robert Downey Jr.
History of 1920s Fashion
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