Fashion, 1750-2000

The late 1670s saw a new development in the style of women's dress that would have a far-reaching effect throughout the following century. The stiff constricting boned bodice-and-skirt style previously worn by women was now replaced with the mantua, a more loosely draped style of gown.

The mantua was thought to display silk designs to their best advantage, as they were draped rather than cut; as such, it is believed the garment was named after Mantua in Italy, where expensive silks were produced. However, it has also been suggested that the name derives from manteau, the French term for a coat.

The mantua was a coatlike construction, with sleeves cut in one piece with the back and front.

It was pleated at the shoulders and fell to the waist, where it was held in place by a sash.

From there it was folded back into a bustle shape and worn over a matching petticoat.

As the style evolved, the pleats at the front were reduced in number and the bodice was opened, with the torso now covered by a stiffened piece of fabric in the form of an inverted triangle, tapering into a narrow waist. This piece of fabric was known as a stomacher. Early examples are often intricately embroidered.

While these gowns appear quite substantial, they were actually precariously fastened with pins to hold the stomacher in place.

Originally an informal style, and banned for its informality from the French court by Louis XIV, the mantua gradually became acceptable as formal dress and remained a popular choice for court dress in England until the mid-century. Its popularity was such that dressmakers were referred to as mantua-makers.

From about 1710, it became customary to pin up the train. The construction of the mantua was altered so that once the train was pinned up, the exposed reverse of the train showed the proper face of the fabric or embroidery. One of the earliest extant examples of this, dated to 1710–1720, is in the Victoria and Albert Museum's collections.

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By the mid-18th century, the mantua had evolved into a formal version principally worn for court dress. The draping of the overskirt became increasingly stylized, with the back panel of the train almost entirely concealed.

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VAM, 1740-1745

The final version of the mantua, circa 1780, bore little resemblance to the original mantuas of nearly a century earlier. Instead of earlier elaborate draperies and folds, the train had evolved into a length of fabric attached to the back of the bodice, as illustrated in an example in the Victoria and Albert Museum.

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VAM, 1775-1785

Extant examples of the 17th century mantua are extremely scarce. Perhaps the only known extant adult-size example is an embroidered wool mantua and petticoat in the Metropolitan Museum of Art's Costume Institute. A pattern taken from this mantua has been published by Norah Waugh.

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The Victoria and Albert Museum owns an extremely rare late 17th century fashion doll dressed in a pink silk mantua and petticoat.

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Also in the Costume Institute is a mantua and petticoat in salmon pink bizarre silk dated to 1708.

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Another early mantua, the silk dated to c. 1708–9 belongs to the Clive House Museum, Shrewsbury, a pattern for this mantua has been taken by Janet Arnold. Most mantuas preserved in museum collections are formal versions from the mid-18th century, intended for court dress.

Aka: Sack-back, Watteau, sacque, contouche

The robe à la française was derived from the loose negligee sacque dress of the earlier part of the century, which was pleated from the shoulders at the front at the back.

The silhouette, composed of a funnel-shaped bust feeding into wide rectangular skirts, was inspired by Spanish designs of the previous century and allowed for expansive amounts of textiles with delicate Rococo curvilinear decoration.

The wide skirts, which were often open at the front to expose a highly decorated underskirt, were supported by paniers created from padding and hoops of different materials such as cane, baleen or metal. The robes à la française are renowned for the beauty of their textiles, the cut of the back employing box pleats and skirt decorations, known as robings, which showed endless imagination and variety.

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MMA, 1770-75

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1760-70

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Eleanor Frances Dixie, c. 1753, by Henry Pickering. The sitter is wearing a bergère hat and a brocaded silk sack-back gown.

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Anastasia Ivanovna, Countess of Hesse-Homburg, Princess Trubetskaya (1700–1755), painted by Alexander Roslin, wearing a pink silk sack-back gown and petticoat. 1757.

By 1720s the mantua had been transformed into the flowing robes volantes made famous in Watteau's paintings (by 1750s become form fitting --> robe a la francaise).

This robe volante is an exceedingly rare example of a well-documented form of dress that marked the transition from the mantua of the late seventeenth and early eighteenth centuries to the robe à la française, the dress style that became ubiquitous in the eighteenth century. The unstructured silhouette of the robe volante, with its unbroken expanses of cloth, made it particularly appropriate for the display of large-scale patterning.

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During the same period that rococo reached such decorative heights, the aristocracy found itself turning toward the fashion of the commoners for hints on how to dress for a more comfortable lifestyle. THe functional coats and skirts of ordinary people influenced aristocratic women's costumes, which gradually tended toward simpler styles, except on formal occasions.

A practical short coat called a casaquin or a caraco was adopted for everyday wear, and robes were simplified.

The stomacher, for example, once attached to the robe with pins, was no replaced by the relative ease of two flaps of fabric (comperes) that connected the front opening of the robe (Tokyo).

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MMA, 2nd half 19th

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MMA, 1780

Women with coquettish airs were imposing in robes à la française and robes à l'anglaise throughout the period between 1720 and 1780. The robe à l'anglaise developed with a fitted back after the style of dress worn in England.

Growing popularity of simpler, more functional dresses in france was in part due to "Anglomania": first signs of Anglomania in men's costume can be found in the final years of the reign of Louis XIV and then in women's costumes after 1770. (robe retroussee dans les poches --> robe a la polonaise --> robe a l'anglaise).

Although worn in the 1750s, etc. the robe a l'anglaise really becomes popular after 1770. The vogue for the robe a l'anglaise introduced the English version of the mantua to France. Although male tailors as well as female seamstresses could make the mantua and its successors for women, the dress became the special province of the seamstresses (J. Jones).

The robe à l'anglaise was an open robe consisting of a bodice cut in one piece with an overskirt that was parted in front to reveal a matching petticoat. Its fitted bodice did not have the center back pleats, often referred to as the "Watteau back," that typified the equally popular style of the robe à la française.

Sometimes the robe was worn without a pannier, attaining its round shape solely through the drapes of the skirt. Later, during the REvolutionary period, the trend incorporated the stomacher and skirt, and was transformed into a one-piece dress, or round gown.

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MMA, 1770 (American)

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MMA, 1750-1775

The polonaise gown first came into fashion in the 1770s. It was a style of gown with a close-fitting bodice and the back of the skirt gathered up into three separate puffed sections to reveal the petticoat below. The method of suspending the fabric varied. Most often the dress had rows of little rings sewn inside the skirt through which a cord ran from hem to waist.

In 1772 Poland was divided by three kingdoms, name derives from this political event. When the pleats at the back center of the robe were sewn down all the way to the waist, the style was called robe a l'anglaise.

Alternatively, ribbon ties would be used, with the ribbons forming decorative bows. However, in some instances the skirt was held in place by simple cords sewn to the inner waist of the dress and looped over buttons attached to the outside waistline.

The stays underpinning the bodice of the polonaise were not markedly different from those which supported the robe à la française.

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MMA, 1780

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MMA, 1780

Neo-classicism, JJ Rousseau's "return to nature", influenced by Anglomania: MA and the Chemise a la Reine. Simple cotton dress, simple, white muslin chemise. Transitional form to the high-waisted dress of the Directory period. Demand for cotton fabric burgeoned in Europe, spur to the Industrial Revolution.

In the Directory the "chemise a la reine" becomes the Chemise dress.

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1783-1790

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Vigee le Brun, 1781

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MA, 1784

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1784

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MA in redingote, 1780

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Madame Élisabeth de France (1764–1794)
Adélaïde Labille-Guiard (French, Paris 1749–1803 Paris)

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Redingote, Kyoto, 1790

Skirts were pulled through the slits for the pockets in the side of the dress and draped over the back in a practical arrangement originally created for working-class women to wear while at work or walking through the town (Anglomania, succeeded by the polonaise).

In accordance with the English custom of walks in the countryside and relaxing in the open air, it became popular to dress up in clothes derived from the work clothes and townwear of ordinary people, who, by their nature, put great importance on freedom of movement. One of these so inspired style is the “retroussée dans les poches”, as seen here. The gown’s hem is pulled out from slits in either side, and draped on the back. The red and white contrasting pekin stripes also heighten the folds’ effect.

“Pekin” stripes are textiles originally made in China of equal-width striped patterns of differing colors and weaving methods. Along with the expansion of interest in chinoiserie, around 1760, Peking striped fabric was even produced in France and became popular. As Jean-Baptiste Siméon Chardin(1699–1779) painted (“The Morning Toilette”, c.1741, Nationalmuseum, Stockholm) , women of the rich bourgeoisie often wore this kind of striped pattern.

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Tokyo, 1780

The "pierrot", a short fitted jacket with short tails, was popular from the mid-1780s through the 1790s.
Just prior to the French Revolution, in contrast to extravagant court fashions clothing tended to be simple and comfortable, and stylish jackets began making their appearance. These jackets were worn with skirt of lightweight, white "linon", a woven cloth with a high linen-like quality made of thin and delicate cotton.

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Pierrot, Kyoto,

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MMA, Pierrot, 1785

Differentiated from the full-fledged Pierrot costume, the Pierrot as a shaped bodice flourished in that gasp of Rococo sensibility and extreme silhouette of about 1780 - 1790. The flared peplum extension of the jacket below the waist and asymmetrically around the back allows for the bulbous billowing skirt of the period. The bodice includes self-fabric ruffles, which would have embellished the skirt as well. The simple low-necked bodice is characteristic of the period, comparable to the "chemise à la reine."

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Wrapping bedgown secured by apron. Black hats of 1780s fashion. Men work in wide-brimmed round hats; one has a waistcoat over a full-sleeved shirt.

From elegant silk dress to simple cotton dress, the French Revolution in 1789 brought a clear shift in clothing styles. The popularity of white cotton muslin dresses became a craze at the beginning of the 19th century. The round gown has a high waistline reaching just below the bust, with the bodice and the skirt connected to form a one-piece dress. However, the round gown was soon replaced by the chemise dress, the most popular cotton dress of the early 19th century.

A forerunner of the simple muslin dress was one adopted by Marie-Antoinette. To escape the rigors of court life, the young queen took to dressing in a simple cotton dress and a big straw hat, and played at being a shepherdess at the Petit Trianon in Versailles. Around 1775 she wore a white cotton dress. Her portrait by Marie Élisabeth-Louise Vigée Le Brun (1755–1842) ("Marie-Antoinette", c. 1783, National Gallery, Washington) shows the "chemise à la reine". Looking at the materials and structures, we can say that the dress was a forerunner of the high waist dresses of the coming Directory period.

The simple style of white muslin dress first appeared and was popularized in France by Marie Antoinette in the 1780s, when her friend Georgiana, duchess of Devonshire, imported the style into England. These early dresses acquired the title of chemise à la reine, and a wonderful example can be seen worn by Mme Lavoisier in the 1788 portrait of herself and her husband (1977.10).

The French Revolution called for a complete contrast in dress to the elaborate silks that had gone before, and plain white muslin dresses were considered an appropriate style, evoking as they did images of unadorned classical beauty. In the latter years of the century, waistlines rose to extremely high levels and the wide sashes that had previously been worn around the waist disappeared. All ruffles and flounces were renounced in favor of a severe, clean line.

The light, transparent qualities of this style called for a change in undergarments. Corsets, or stays were now replaced by unboned canvas or cotton drill bodices, and for the first time women took to wearing drawers; adapted from male garments, these consisted of two tubular legs open in the center and attached to a waistband.

Until 1806, these dresses retained a small train at the back, supported by pom poms stitched below the waistline. After this date, hemlines began to rise and color was gradually reintroduced, with printed cotton fabrics being a popular choice. Silk was still worn, although it tended to be in plain colors; it was popularly used for the pelisse—a long coatlike garment—or the spencer jacket. This was a small jacket finishing just below the waist with long sleeves reaching to just above the knuckles.

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Round gown, Italy, 1795

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Round gown, MMA, British, 1798

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Round gown, MMA, 1785
This afternoon dress in the form of a round gown steadfastly keeps up appearances and can pass for eighteenth-century opulence, especially in its colors and textile richness. But the high-waisted dress, spencer, corset, and separate sleeves constitute a new anatomy, one that anticipates the century to come. This shape would be renewed in the 1880s and 1890s, as one fin de siècle recapitulated the preceeding fin de siècle.

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Mme Recamier, JL David, 1800

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Francois Gerard, 1805

Chemise dress: high waistline, single-pieced bodice and skirt, clean, tubular silhouette. Neoclassicism blended with Greek and Roman antiquity.

1794: women adopt most extreme forms of “classical” costume in defiance both of Jacobin Puritanism and conventional morality. Very sheer, very light, transparent dress, little underwear. Fake innocence and eroticism (white). Affected and expensive simplicity of this dress (India muslin was very expensive), set off by a fine shawl. These were the élégantes.

Climate not always suitable. But women wore fabrics other than white muslin: plain light colored taffetas, printed cottons, round gown, open robe, douillettes, redingotes. Wore shawls and redingotes and spencers outside to keep warm. (Shawls very expensive at first, spread to general public by 1830, France and England manufacture them by 1840).

Feet: wore sandals or little shoes.

Handbangs needed to contain things that used to be hidden in pockets under voluminous gowns. Reticules.

Jewellery added to classical muslin.

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Portrait of a woman, c. 1794-5, circle of David

Muscadins, petits-maitres, incroyables, merveilleuses: dressed in thin and transparent dresses without corsets or panniers.

The Merveilleuses scandalized Paris with dresses and tunics modeled after the ancient Greeks and Romans, cut of light or even transparent linen and gauze. Sometimes so revealing they were termed "woven air", many also displayed cleavage and were too tight to allow pockets. To carry even a handkerchief, these ladies had carry small bags known as reticules. They were fond of wigs, often choosing blonde because the Commune had banned blond wigs, but they also wore them in such colors as black, blue, and green. Enormous hats, short curls like those on Roman busts, and Greek-style sandals were all the rage. These tied above the ankle with crossed ribbons or strings of pearls. Exotic and expensive scents such as fabricated by well-connected perfume houses like Parfums Lubin were worn as both matters of style and indicators of social station. Thérésa Tallien became known for wearing expensive rings on the toes of her bare feet and gold circlets on her legs.

White gauze, muslin, taffeta, figured silk... Military styles (spencers, Brandenburg piping, coverd buttons, Hussarde). Sleeves puff in the 1815-1820s. Colors return after 1820.

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c. 1803, yellow silk taffeta dress

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c. 1820. Brown and blue striped silk taffeta; spencer and dress set.

After the Revolution, silk was replaced by more favored cotton materials from England, and the silk industry in Lyons, a driving force of the French economy, fell into a serious crisis. NB made an effort to revive the French industry by prohibiting English muslin, imposing duties on imports, ordered that men and women wear silk at formal ceremonies. Velvet and silk used for chemise dresses.

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Formal dress, 1805. White silk gauze.

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Court dress, mid-1820s. White silk satin with silk tulle embroidered with gold thread. The court train became a standard style in courts all over Europe. This manteau de cour is said to have been worn by the wife of King Fernando VII of Spain.

NB's military operations influenced military-inspired fashions: "a la Hussarde", Brandenburg buttons on spencers and redingotes, mameluke sleeves with layers of puffs...

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English style spencer, fashionable from 1790s-1820s. Short, tailored jacket with long-tight-fitting sleeves that covered the hands.

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Redingote a la Hussarde, 1815. Brandenburg piping and pompons.

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Redingote with braid and wrapped buttons in Brandenburg style.

Raised waistlines of the Empire style drop back down to more natural position. Corsets once again necessary, small waists in. Skirts broaden to a bell-like shape, shortened to reveal ankle. Elaborate stockings. Gigot sleeves (apex in 1835). Wide decollete (needed capes and fichus to regulate during daytime).

Hairstyles and hats enlarged to offset and balance voluminous sleeves and necklines.

Influenced by Romanticism, taste for historical and exotic. Legend demanded that women be delicate and melancholic. Active, healthy image was considered vulgar. Pale complexions admired. Borrowed from 15th and 16th court dresses.

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c. 1822 day dress

This dress is very simple, but still has a romantic air. This style was sometimes found in the period of transition between the high-waist Empire style dresses of the early 19th century and the popular styles of the following period. The waistline approaches the natural waist position, while flounces and padding at the bottom of the skirt add weight to the thin and soft silk dress to create a beautiful skirt line. In the 1830s skirts came to have perfect bell shapes.

Gigot sleeves reach their apex in 1835.

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c. 1826
This dress is characterized by large sleeves. Fashionable printed fabric is used with skill, and is trimmed by the piping everywhere. Sleeves gradually gained volume from the 1820s, and reached their maximum size in the 1830s. They are called "gigot" or leg-of-mutton sleeves. During the 19th century, when the silhouette changed continuously, large sleeves became fashionable, once again, at the end of the century.

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1835

This dress has puffed sleeves and a slender waist. A day dress of chintz, it has a romantic silhouette typical of the 1830s. Indian chintz was introduced to Europe from India in the 17th century, and highly valued under the names of "indienne" (French) and "chintz" (English). The Industrial Revolution in the late 18th century led to growth of a fabric printing industry in the Western world. Printed dresses became widely popular in the mid-1830s, and afterwards, prints continued to be used extensively for clothes and decorations.

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Transition between gigot and crinoline. Wide-open decollete, small sleeves which cover round shoulders, pointed waistline to emphasize thin waist, softly puffed-up skirt. All these styles put emphasis on the sensitive, graceful, and feminine features of a woman.

Gigot disappears in 1840s, skirts become larger with layered petticoats, waist lowered and thinner. Horsehair crinolines appear in early 1840s.

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1850, India?

The large gigot sleeves that were popular in the 1830s have been replaced by natural-fitting sleeves that continue from gentle shoulder lines. The waist is tighter than before, and the skirt has a larger bulge with several petticoats worn under it. As skirts became increasingly large, the beginning of the 1840s saw the invention of crinoline petticoats, with horse tail hair (crin) woven into a stiff flax fabric (lin). Crinolines were improved and enhanced, morphing into basket-like structures using steel hoops in the late 1850s.

In 1840s the term "crinoline" referred to petticoats made of crin (horsehair) interwoven with lin (linen). After the 1850s the term came to mean a petticoat with a cage frame constructed out of steel or whalebone hoops, or any wide skirt that included such a cage. Development of steel wire, advances in the textile industry, and practical use of sewing machines meant that crinolines were enlarged even further. Skirt apex in 1860s.

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Crinoline, 1865

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Day dress, c. 1855

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Evening dress, 1864

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American, 1865

An outfit comprising a tailored jacket and a crinoline skirt in which the skirt billows widely at the back, a look that was in vogue during the 1860s. The color black emphasizes the outfit’s sophisticated silhouette from which any excessive decoration has been eliminated. The influence of men’s clothing in the mannish style of the jacket and the choice of black was initially seen in women’s riding wear, but this influence extended to daywear in the latter half of the 19th Century, and went on to develop into the tailored suit. The jacket is decorated with the precious stone jet. Jet, a variant of zinc or coal, had been used for centuries in the West as decoration in a wide range of art and craft products. In the second half of the 19th Century, jet became most notable as a form of personal adornment in conjunction with the trend of wearing black, influenced in part by Queen Victoria's choice to continue wearing black long after the death of her husband, Prince Albert.

(more specifically from 1865-1870).

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Monet, Women in the Garden, 1865

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Late 1860s.

This light summer dress in the crinoline style easily evokes the type of fashion depicted by Monet in his "Women in the Garden" (1866, Musée d'Orsay). Tarlatan, the type of fabric used here, became fashionable in the 1860s. It is thin plain-weave cotton, dyed or printed and then given a starched glaze. Despite its thinness, its firmness made it suitable for use with the large skirts of the crinoline style. In their outdoor scenes, Impressionist painters from the same period often captured the lightness and beauty of the then popular tarlatan with its airy and partially translucent appearance in the glistening daylight.

The dress of the first bustle period (1870's) is noted for the lightness of it's material and decoration, swathing the lower reaches of a woman's body in numerous ruffles and pleats, often in light colors using the new and vibrant aniline dyes.

The late nineteenth century was an age when men and women had distinct social roles. In accordance, the natural form of the two genders also diverged. To avoid looking “masculine,” women dresses were encouraged to be tight on top and widen below the waist. By the 1870s and 1880s the skirt support and the silhouette created by the bustle became the focus of fashion. Bustles were made in a wide variety of materials and shapes, such as horsehair, metal hoops, and down. By 1686, the “fullness of women’s skirts had moved to the back, and a bustle was needed to support fashionable puffed overskirts and large sashes.” The bustle swelled in size until around 1874 and 1875, when it largely disappeared, leaving the skirts and petticoats to hug the thighs and the line in the back to appear as a natural flow from the waist to the train. The bustle was dramatically revived in the early 1880s and took the form of a shelf-like perpendicular protuberance.

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Worth, 1874

A bustle style is a look that emerged immediately after the crinoline. Bright purple became fashionable with the invention of the chemical dye aniline in 1856. The usage of fashionable color and the generous drapery used in this dress are characterized of Maison Worth.
Charles Frederick Worth (1825-1895), an Englishman by origins, went on to establish his own maison in Paris in 1858. He set up the basis of the fashion system that would later be known as "Haute Couture" through initiatives such as showing his new designs on living women, developing clients who were fashion leaders in society, and implementing skillful advertising strategies. All of these ideas contributed to establishing Paris as the fashion capital of the late 19th Century.

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Dinner dress, late 1870s

late 1870s: arrival of tea gown. At first, like a morning roe, but then less like a dressing-gown and more like a fashionable dress. Loose, unboned bodice. Many were princess with Watteau back. Growing severity of tailor-made dresses in the 1880s gave the tea-gown a special place as the most elaborate garment of daytime wear. Especially worn in the 1880s.

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Lucile tea dress

Bustle moves down the back, until it reaches a train.

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This dress is a princess style, Valenciennes lace in three separate plant patterns are set in organdy. The lace used amounts to a length of roughly 50 meters.

The Princess dress was named in honor of Alexandra, Princess of Wales (1844–1925, later Queen of Britain). It had no horizontal seams at the waist, but used vertical seams to fit closely to the waist, emphasizing the bust and hips. It was fashionable around 1880. Jean Béraud (1849–1935) painted this style of dress in "Une soirée" (1878, Musée d'Orsay). Though this style was only for a short time, it can be seen as an example of body conscious in the nineteenth-century.

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Tissot, On the Thames, 1874

Bustle moves down in the early 1880s, then back up to a perpendicular shelf in 1885.

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Manet, Sunday @ La Grande Jatte, 1884-6

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Pingat, 1883

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This dress shows tendency of downsized bustle seen in the later half of the 1880s and simplified dress silhouette. At the rear of the skirt, vestiges of the bustle style remained, but the extreme forms of the bustle style were simplified and toned down. 15 bones line the bodice, make beautiful silhouette.

This textile with a morning glory motif was made in Lyon. Using morning glory motif is caught as a flow of the Japonism at that time. Charles-Frederick Worth (1825–1895) and the Lyon silk manufacturer were paying attention to Japanism as a new design source for the fashion.

Bustle lowered in the late 1880s, return of big "gigot" sleeves, now called "elephant" sleeves.

As the 1880s drew to a close, the bustle reduced in size. The lines of skirts were transitioning toward forming a clearer shape. In contrast to this, around 1890 the sleeves began swelling to such sizes that one may say it was the return of "gigot" sleeves. These large sleeves were called "elephant sleeves," and they reached their maximum size around 1895.

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The chrysanthemum motif used in this ensemble substantiates the Japonism style of that period. In the middle of the 19th century, chrysanthemums brought from Japan to Europe were popular in the background of Japonism movement, and European countries created "Chrysanthemum Associations." In 1887, Pierre Loti (1850–1923) published his "Madame Chrysanthème", and the image of the chrysanthemum as a symbol of Japan was established.

Bodices, or shirtwaists, could be tailored or feminine.

As sports gained popularity amongst women, the blouse and skirt were established as essential items of a woman's wardrobe. This style was favored and drawn by the American illustrator Charles Dana Gibson (1867-1944), and, by association, was coined as the "Gibson girl style." Outfits for the modern lady, consisting of a plain skirt and starched blouse, were fresh in a time when over decorative dresses were the mainstream. Though the fashionable silhouette with an extremely thin waist of the time is emphasized by a corset still persisted, the ensemble shown here is a premonition of liberating female images of the 20th century.

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Mr and Mrs Phelps, Sargent, 1897.

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1893, America

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This dress is characterized by a tailored suit-style design. At the end of the 19th century, women's clothes still possessed a shape distorted by the corset, and were heavily decorated with frills and lace. However, as lifestyle was diversified, active wear was demanded for outdoor activities by making a model of rational men's clothing. Tailored jackets in particular, forerunners of twentieth-century unisex fashion, took on an increasing importance for women's fashion.

S-shaped silhouette and tailored suit for women emerge at same time. S-shaped embodied ideals of art nouveau. Gibson girl.

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Worth, 1900

The flowing S-curve silhouette of this dress is typical of its time. A water's-edge pattern and plant pattern, lined up in a coordinated fashion, is appliquéd and embroidered onto thin silk chiffon and expressed three-dimensionally. The influence of Art Nouveau, a decorative art style popular from the end of the 19th century to the beginning of the 20th, is evident.

It seems as if the plant pattern arranged on the skirt is of Japanese iris, blooming on the waterfront. This stylized pattern makes one recall the plants that appear in the sketch collection supervised by the artists Eugène Grasset (1845–1917) and E.A. Séguy (1889-1985) who were affected on Japonism. These stylized designs were first applied to textiles. Wooden furniture, flower vases, lighting, and various other products were later characterized by the Art Nouveau style.

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1903

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1908

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Camilla Clifford, the Gibson girl, c. 1900

First fashion that did not require the use of a corset. Straight cut and ample shape. With few exceptions, since the time of the Renaissance western women's clothing had required a waist-cinching corset as the main shaping element. Poiret rejected the use of a corset in female garments, shifting the supporting point of gravity from the waist to the shoulders. Quest for new form of beauty. Achieved something that even the disapproval of feminist activists and medical doctors during the late 19th c. had failed to do: they liberated women from the corset. Consequently, fashion in the 20th c. evolved from a corseted, artificial form to a more natural shape supported by a brassiere.

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Poiret Kimono Coat, 1909. Introduced at same time as Lola Montez and Directoire styles. Influence of Orientalism (publication of 1,001 Nights around this time), Ballet Ruses in Paris, Japan opens doors).

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Worth, c. 1910.

This is an interesting example in which a pulled-back collar, a kimono-style overlap, and loose drapes for the lower part of the back resembling the appearance of a kimono are effectively expressed by Western-style three-dimensional cutting.
At the end of the 19th century Worth's was among the first fashion houses to pay attention to the new trend for Japonisme. Later, from around 1907, there was a trend for fashion inspired by Japanese style, including details such as the kimono's loose-fitting style, overlapping, and kimono-type sleeves. Like other fashion houses, Worth followed that fashion trend.

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Callot Soeurs were also heavily inspired by orientalism. Exoticism, sensuous beauty of the East. Patterns and colors of fabrics, structure, loosely fitted harem pants and Japanese kimono.

Inspired by classical greece as well as Orient.

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c.1912.

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Lola Montez dress, Poiret by LePape (c. 1911)

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Lanvin, 1911

These dresses have a high waist silhouette, which is representative of the early 1910s. This silhouette spread among designers, starting from Paul Poiret's "Lola Montez" dress in 1906. Distinctive, vivid colors on delicate materials such as silk chiffon were achieved in this period by use of synthetic dyes. These hues can be also found in the highly exotic, strong colors used in the costume of the Ballets Russes, which first performed in Paris in 1909. Those colors immediately influenced fashion circles, and in the early 1910s, the streets were filled with vivid colors like those seen in these dresses.

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The "Delphos" series, which originated in around 1907, was the signature work of Mariano Fortuny (Spanish), who used Japanese or Chinese silk fabrics to make ancient Greek-style dresses. Pleats flow down from the shoulders to cover the body naturally. This fresh form completely overturned the concept of female clothing. Structural features of the dress, such as the pleats covering the whole dress and the glass beads used as weights, simultaneously serve as decorations.

Because the "Delphos" dresses accentuate the natural curves of the body, not the artificial forms made by corsets, initially they were used as luxury indoor gowns. They are very long, and some of them even have a train.

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Fortuny, 1910s

A gorgeous informal, indoor wear. The "tatewaku" (hourglass line) pattern with butterfly and hollyhock motifs was inspired by a Japanese fabric. Mariano Fortuny sought out pattern design sources from diverse periods and regions, including Japan. The textile for this coat has the almost same design as that of Japanese cut silk velvet for kimono sashes. This Japanese textile was described by the journal "Le Japon artistique" (vol. 2, 1888) and later by "Étoffes Japonaises" (1910) (At present, the original sash textile is housed in Les arts decoratifs, Paris.) For this coat, the pattern is produced by stencil printing.
At the end of the 19th century Western people began to wear Japanese kimonos, which are loose-fitting and liberating, as undress. Kimono-style indoor wear and coats were produced in both Europe and the U.S.

Evolves from the shirtwaist. Becomes the "uniform" of the war.

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Bulloz, 1910

This tailored suit is made of soft materials emphasizing feminine charm, forming a typical example of the early 20th century. Women started wearing tailored suits, with designs that were influenced by men's clothing, in the middle of the 19th century as traveling wear or sportswear. At around 1910 they became a popular wardrobe staple. Tailored suits like this item increasingly appeared in the fashion magazines in those days, among gorgeous feminine dresses with frills and laces.

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These are precious exampled dressed for "La mille et deux nuits," a masquerade party held by Paul Poiret. Although they were made for one night's use only, they are gorgeous. The men's costume was worn by Arthur Acton(1873–1953), an art collector and the father of the English writer Sir Harold Acton.

Poiret was a designer who gave direction to 20th century fashion, and was nicknamed the "Sultan of Mode." The luxurious party "La 1002e nuit" was held in 1911, when Orientalism was popular as a result of the Ballets Russes and other influences. Poiret got the idea for the party from a collection of Arabian folktales, "The Book of One Thousand and One Nights." Poiret disguised himself as a sultan, and all three hundred guests wore ancient Persian style dress to set the mood for the party. The combination of a hoop skirt and a turban worn by Poiret's wife Denise attracted tremendous interest. After this party, Poiret often held Oriental parties and produced Arabian-style fancy dress designs.

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V. Mendes says that "leggy, slimsily clad, straight-line heroines" encompass the Paris 1925 Exhibition but last no more than four years (late 1924 to 1928).

Art Deco gets its name from 1925 Exposition Internationale des ARts Decoratifs et Industriels Modernes. Short hairstyle, cloche hat, loose-fitting drop-waist dress with knee-length skirt. Surface decocration, boa, bright accessories.

Underwear: brassiere, teddy, natural felsh-tone stockings.
Makeup: red lipstick, white power, blush, kohl, think eyebrows.

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Zimmeman, 1922.

The textile of this dress was designed by painter Raoul Dufy (1877–1953) for a famous textile manufacturer Bianchini-Ferrier in Lyon. Zimmermann made up a dress with the textile, utilizing the border part where red roses are depicted. The rose is one of the Dufy's favorite motifs. In this fabric, the roses executed by block print provides an artisanal touch.
Dufy worked with Bianchini-Ferrier between 1912 and 1928, and provided a number of designs. The resulting textiles were often used by Zimmermann, Poiret, and other designers.

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Poiret, 1925 (w/ Dufy)

The design of the artist, Raoul Dufy, is depicted on this one, large piece of cloth, realized by the Bianchini-Ferier company. Dufy, who had been working to become an artist, met Paul Poiret and began designing textiles. He left many textile works, and was a pioneer of artist-designed textiles. Aiming for the crossover of art and fashion, Poiret unsparingly offered assistance to young artists and stressed interaction between them.

Regulated the quantity of cloth to be used in clothing manufacture (coat could use no more than 4 m). Coupons were necessary to purchase rayon, one of the few materials available.

Incorporated Society of London Fashion Designers commissioned by te British Board of Trade to create a range of prototype clothing to meet the requirements of the Utility Clothing scheme. 32 Utility garments created by Edward Molyneux, Hardy Amies, Norman Hartnell were selected and mass-produced.

Nostalgic style, narrow wasit cinched with a corset and full and long skirt. Used a lot of fabric (scandalous).

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This dress, named the "Trapez," is one of the breakthrough works of the young Yves Saint-Laurent, who then worked for Christian Dior. The loose waist and the simple silhouette are remarkable features and probably the starting point toward the next stage known as the A-line. Highly sophisticated techniques of Haute Couture such as precisely calculated darts and ironing, realized this clear form.

This dress is one of the first collections introduced by the young Saint-Laurent, who took over Dior's fashion house after his sudden death. The minimalism in this work, eliminating any decorative factors including flashy colors, patterns and materials, is very interesting as a step towards the simple mini dress in the coming 1960s.

Men's fashion was stable and less garish in the 18th c. than in the 17th (new, colorful, ornate). The habit a la francaise, a typical 18th c French suit consisted of a coat (habit, called justaucorps in the 17th c) which gradually became fitted in shape, a waistcoat, and breeches.

A white shirt, jabot frill, cravat, and pari of silk stockings completed the men's suit.

Brilliant colors, intricate embroidery, decorative buttons, elaborate jabots for neck, chest, cuffs were important. Coast and waistcoats elaborately embroidered.

1715-1740
La garde-robe masculine conserve du règne de Louis XIV, le justaucorps, la veste et la culotte qui prennent le nom d’habit à la française sous le règne de Louis XV. Durant la Régence, le justaucorps se modifie quelque peu par l’élargissement de ses basques par des plis multiples lui donnant une forme juponnée. Les manches ont de grands parements ouverts, arrondis ou droits. D’abord employées pour les vestes, les soieries façonnées à grand rapports de dessin sont progressivement remplacés par des décors brodés. Peu à peu, la perruque masculine perd de son ampleur, change de forme et se simplifie en postiche poudré noué parfois en catogan.
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Arts decos, 1730-1740

1740-1774
Pour l’homme, l’habit à la française, composé de l’habit, du gilet et de la culotte, perd de son ampleur vers le milieu du XVIIIe siècle. Les pans de devant de l’habit, prennent une coupe oblique vers 1760 et les parements des manches diminuent et se ferment. Le gilet qui se substitue à la veste, se porte plus court que l’habit. A partir de 1745, la culotte passe par-dessus le bas et est ajustée au-dessous des genoux par des jarretières.
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Arts decos, 1760

1774-1789
L’habit à la française, sous Louis XVI, garde sa structure traditionnelle mais prend un caractère plus cérémoniel dans le troisième quart du XVIIIe siècle. Il est alors plus ajusté et les pans de devant glissent vers l’arrière préfigurant l’habit dégagé. Le col est droit et commence à devenir de plus en plus haut. Le gilet adopte quant à lui une forme droite, et perd définitivement ses basques.
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Arts decos, 1785-90

French version of the English frock coat, or frac. This was a jacket with a turned down collar, generally constructed from a plain-colored fabric. On the even of the Revolution, striped patterns became popular, and the passion for elaborate embroidery on men's suits disappeared. Du to the English taste for simplicity, the frac continued to be a standard item of men's clothing throughout the 19th century, along with the pantaloons that eventually replaced breeches.

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1793

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AD, 1789-91

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Sir Joshua Reynolds. Detail of Henri Fane with His Guardians. 1760-62.
Oil on canvas. 254.6 x 360.7 sm.
The Metropolitan Museum of Art, New York, USA.

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MMA, 1790

Anglomania, evident in French men's costumes from the late 17th century, continued to be in fashion. For example, the collared English riding-coat (redingote or habit degage) was adopted for town wear as an alternative to the habit a la francaise. (-->then English frock coat, or frac, appears).

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MMA, 1796

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Habit degage, MMA, 1795

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Habit degage, AD, 1795

The Revolution adopted fashion for the purposes of ideological propaganda in the new age, and revolutionaries declared their rebellious spirit by appropriating the clothing of the lower classes.

Those who still wore extravagant and brightly colored silk clothing were considered anti-revolutionary. Instead of the knee breeches and silk stockings that symbolized the nobility, revolutionaries wore long pants called sans-culottes (non-breeches) and a jacket called a carmagnole, a Phrygian cap, tricolor cockade, clogs.

Derived from simple English tastes, this fashion evolved into a style of frock coat and trousers, which was afterward worn by the modern citizen in the 19th century.

But not everything changed: new styles emerged in quick succession during the Revolution, reflecting the changing political situation, but conventional clothing, such as the habit a la francaise, was still worn as the official court costume. New and old fashions intermingled during the Revolutionary period.

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Kyoto

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Mixture of classical, historical, and imagination. Inspired by theater costume of the time. But project was a failure (Talma wears it though). When Jacobin regime overthrown David's experiment comes to an end. St. Sauveur's costume indebted to David, but new emphasis on luxury (Director's costume). Seen as absurb bout outsiders.

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Membre du Directoire Executif dans son grand costume, 1795.

Director's costume for formal occasions: blue silk coat (habit-manteau) over a white tunic and pantaloons.

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Jean-Baptiste Isabey and his daughter, 1795 by Francois Gerard.

Isabey wears a short coat of black velvet, black silk dobule-breasted waistcoat, greyish-green cloth pantaloons; hair is "antique" style. Stylish simpolicty of masculine costume at this period, the cravat is just a wide band of linen, starched, wound around the neck.

Brought back ceremonial dress for government, court, official dress. Silk from Lyon. Banned muslin shifts.

Encouraged by the Restoration in 1815, aristocrats who had fled to Britain returned to Paris and the dandies became a feature of the city. Their clothes were in the simple and functional style of English fashion: cut-to-fit, perfect tailoring, superior-quality fabric.

Beau Brummell, Barbey d'Aurevilly (1845 on Beau), Oscar Wilde...

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1830s England

The gloss of high quality fabric without decoration accentuates the elaborative tailoring of these tight-fitting clothes. Plain but elaborately tailored in details, simple and functional men's clothes were made on the basis of the esthetic values of the "dandies," who emerged at the beginning of the 19th century. As a result, men's clothes became simpler and more stylized, and their designs established a standard that is still relevant today.

Also: Cabinet des Modes, Magasin des Modes Nouvelles Francaises et Anglaises (1785-9), Journal de la Mode et du Gout.

Early fashion magazines are full of enthusiasm for the Revolution, a feeling which was to become much more muted as it became obvious that the very concept of fashion, with its aristocratic and frivolous ovetones, was doomed in the increasingly harsh social climate of the new republic.

From the spring of 1793 fashion magazines are silent, return in the summer of 1797 with the return of "society" in a bourgeois republic based on property.

Le CAbinet des modes (founded 1785) changes name to Le Magasin des modes nouvelles francaises et anglaises to reflect Anglomania.

Founded by Selleque and La Mesangere. Edited by La Mesangere (inspired the 1912-1914 eponymous magazine).

Lasted 42 years, beginning of the history of fashion magazines. Selleque was a professor of Rhetoric during the Revolution, then bookseller, and journalist. La Mesangere born to a noble family, priest, professor, journalist. Inspired by the old Journal des Dames (1777-8) and Cabinet des Modes (1785-89).

8 pages of text plus fashion prints. Came out every five days. Prints sketched by Debucourt, Vernet, Isabey, Boilly, sometimes La Mesagere. Frequented boutiques, walks, cafes, theaters, salons to get fashion. Writing: reviews of new shows and books, songs, brainteasers, puzzles, poetry, feminine qualities, health.

Problems in first two years: imitation, competition, censorship, taxation. Stable by 1779. Selleque dies in 1801 (33 yrs old). By 1803, 1,300 subscribers. Promoted shops and couturiers for ad money. Offered service where women could buy accessories through journal, receive them at home.

For the provinciale. Did the first initiatives (format, periods, price, pagination, sales) that mark the evolution of magazines like the Moniteur de la mode and the others that follow.

La Mode Illustree has beautiful engravings by Anais Toudouze, Heloise Leloir. La Mode Illustree does not talk about society, devoted to feminine virtues. Emmeline Raymond talks about “economie dans l’elegance”.

Feminine press becomes the business of professional publishers: Adolphe Goubaud, Firmin-Didot, Hachette. Money from publicity. More money in the middle class under the bourgeois republic. Magazines fold under each other, are absorbed into others...

Some are specialized for those who work in fashion: La Modiste universelle (1873-1897); Art et la Mode (Parisienne) La Mode illustree (provinciale).

For the Parisienne, femme bourgeoise (like La Revue de la mode, 1872-1913).

Highest price, fashion considered an art done by artists with models. No patrons or supplements like the Goubaud editions, but only colored engravings and many illustrations in the texte.

The revue has no practical goal, but alludes to the luxury and mondain, frivolity of fashion.

Journal de la vie mondaine, eurpeen, feminin, artistique, litteraire.
**ONLY ONE TO HAVE HISTORY OF FASHION FROM THE REVOLUTION TO THE 3RD REPUBLIC. Invites public to visit the "costumes du siecle" shown at the Champ de Mars.

Disassociates fashion from its practical and functional sense. Fashion admired and described as an art object, symbol of elegance and parisian distinction, crown of feminine beauty.

1916 for British Vogue, 1922 for French Vogue. Becomes prominent magazine after WWI.

1930s tried to broaden appeal by talking about budget dressing.

Illustrated by Georges Lepape. Poiret is fist to use fashion catalogue as a medium for individual designers to display their work to the world.

Lucien Vogel, published, persuaded several couture houses to provide financial backing for the new fashion magazine. Engaged Paul Iribe and Geroges Lepape for illustration (also Barbier, Besnard, Marty, Martin, Monvel, Brissaud). Finance provided by Worth, Cheruit, Doeuillet, Lanvin, Poiret, Redfern.

1921 bought by Conde Nast.

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July 1, 1932. Edward Steichen.

i-D is a British magazine dedicated to fashion, music, art and youth culture. i-D was founded by designer and former Vogue art director Terry Jones in 1980. The first issue was published in the form of a hand-stapled fanzine with text produced on a typewriter. Over the years the magazine evolved into a mature glossy but it has kept street style and youth central to every issue.

The magazine is known for its innovative photography and typography, and over the years established a reputation as a training ground for fresh talent. Photographers Nick Knight, Wolfgang Tillmans, Juergen Teller, Terry Richardson, Ellen von Unwerth, and Kayt Jones have produced work for i-D. The magazine celebrated its 250th edition at the end of 2004 and its 25th anniversary in 2005. The July Issue of 2009 was the magazines 300th publication, boasting many interesting articles and iconic photography, true to the magazines concept. The content, focused mainly on ideas from past issues and bringing these ideas into 2009. Raquel Zimmerman was the covergirl for this edition.

The magazine pioneered the hybrid style of documentary/fashion photography called The Straight Up. At first, these were of punks and New Wave youth found on English streets and who were simply asked to stand against any nearby blank wall. The resulting pictures—the subjects facing the camera and seen from "top to toe"—are a vivid historical documentary photography archive, and have established the posed "straight up" as a valid style of documentary picture-making.

The Face was a British music, fashion and culture monthly magazine started in May 1980 by Nick Logan.

Logan had previously created the teen pop magazine Smash Hits, and had been an editor at the New Musical Express in the 1970s before launching The Face in 1980.

The magazine was influential in showcasing a number of fashion, music, and style trends of youth culture including New Romantic, and the "Hard Times" look of the mid-1980s.
From 1981 to 1986, Neville Brody was typographer, graphic designer, and art director of the magazine.

1810 on the rue du Bac. Transformation of windows between 1824 and 1840: larger, clearer. 1835 work is done to make it bigger. 1844 publishes catalogue. First catalogue of a magasin de nouveaute, but not illustrated. Illustrated begins in 1860s. So publicize in fashion magazines. **MAGASINS DE NOUVEAUTES ARE THE ORIGIN OF CONFECTION.

Each textile has its own row: indienne, toiles, draperies, foulard, robes de fantaisie, merinos, cotonnades.

Silk: unie, faconnee, deuil.

Shalws: Indde, hiver, damasses, unis, carres, longs.

Confections. Lingerie. Stockings, gloves. More than 20 departments, including rugs, etc.

In space built for 1855 Exhibition. In 1865 takes the name Grands Magasins du Louvre

After 1863 Louvre sends out 2x year a catalogue of their models that had appeared in La Mode Illustree.
1866 catalogue: not illustrated (1872 catalogue illustrated on each page).
Collaborates with La Mode Illustree on layettes

Known for rugs

Construction had to stop in 1871 bc of war. Really flourishes after. Aristide Boucicault.

1884 Godwin becomes first director of the costume department (Dies in 1886).

Costumes of all historical periods. Study and execution of costumes, modifications of beautiful examples. Women could go study folios of colored manuscript drawings, make up stock examples, work with the assistants. Helped women chose appropriate colors.

Self-reliance, discrimination, regard to individual characteristics.

Fashions that will "never go out of style".

Also Bristol (1904-1910), Manchester (1905-1912), NY pop-up, Boston pop-up, Chicago pop-up, Toronto pop-up.

Liberty fabrics made an impression at the Paris Exhibitions of 1889 and 1900. After WWI Liberty style was an anachronism. New Art Deco, Liberty not a part of this. Department in Paris was traditional, catalogue in two sections: "Gowns Never Out of Fashion" (Grecian, Empire) and "Gowns of the New SEason" (not like Chanel, simple, free, comfortable).

Largest, most opulent purpose-built store the country had ever seen. Offered the pleasures of fashionable consumption to a socially diverse audience, esp. suburban and provincial middle and lower class women who might have felt alienated by the West End stores.

Opens on Abingdon Road first; 1973 becomes Big Biba on Kensington road. Fundamental desire to create a new kind of shop, combined with total lack of respect for conventional retailing and business wisdom, refusal to water down designs for mass-market. Tension btw creativity and commerce. London fashion shone brightly in the 60s but could not sustain itself and burn out faster than less innovative enterprises. By early 70s boutique boom largely over.

End of King's Road. Entrepreneurial chaos and cool mangement. Sold a mixture of own designs and old clothes to both sexes. Androgynous look. Unisex changing room.

Works in Alice Pollock's shop, Quorum. Used Celia Birtwell prints, did bias-cut dresses, slithery satin and crepes, masculine tailoring, lean, snakeskin jackets. Quorum was a social space bringing together pop stars, artists, actors. One of the few London designers who staged fashion shows, excessive and remarkable (like Quant).

Opens Fulham Road Clothes Shop with Sylvia Ayton. Rhodes' artisanal gowns had floating panels of vividly patterned fuild chiffon and silk.

Store run by Malcom Mclaren and Vivienne Westwood that defined the punk look. Like Acme (then Boy, then mainstream).

1976: Sex-->Seditionaries; 1980-1984 World's End

SEX sold fetish and bondage wear supplied by existing specialist labels such as Atomage, She-And-Me and London Leatherman as well as designs by McLaren and Westwood. Among customers at SEX were the four original members of The Sex Pistols (the bass-player Glen Matlock was an employee as a sales assistant on Saturdays. The group's name was provided by McLaren in partial promotion of the boutique. In late 1975 when nineteen-year-old John Lydon was persuaded to audition for the group by singing along to Alice Cooper's "I'm Eighteen" on the jukebox. Other notable patrons included occasional assistant Chrissie Hynde, Adam Ant, Marco Pirroni, Siouxsie Sioux, Steve Severin and the rest of the Bromley Contingent.
The store's designs confronted social and sexual taboos, and included T-shirts bearing images of the Cambridge Rapist's face hood, semi-naked cowboys from a 1969 illustration by the US artist Jim French [2], a trompe-l'œil image of bare breasts from a novelty shirt first produced by Rhode island School Of Art students Janusz and Laura Gottwald in the late 60s ,[3] and pornographic texts from the book School for Wives by the beat author Alexander Trocchi.

Among the designs were clear plastic-pocketed jeans, zippered tops and the Anarchy shirt which used stock from the 60s manufacturer Wemblex. These were bleached and dyed shirts and adorned with silk Karl Marx patches and anarchist slogans.