Both male and female clothing from the eighteenth century are tepresented in the collection, but from the nineteenth century on, the collection represents primarily women’s clothing, as the KCI feels i reflects the ideal beauty of the time more faithful than male apparel. The contemporary branch of the collection com- prises clothing created by world-famous designers, including numerous pieces from Japanese designers who have been active since the 1970s, like Comme des Gargons, which donated aver 2,000 items, Issey Miyake, Yohji Yamamoto, an other designers of the new generation. ‘The Kyoro Costume Institute has lent its collections to longer-established museums like the Metropoli- tan Muscum of Art (New York) and the Victoria and Albert Museum (London), among others. The KCI has also received numerous donations from individual fashion collectors and designers from all over the ‘world, including Jean-Charles de Castelbajac, Calvin Klein, Yves Saint Laurent, Christian Lacroix, and many Japanese designers. A professionally controlled environment in which temperacure and humidity are constantly monitored with great care ensures that che collection is preserved from aging and other types of deterioration. The KCI only restores items in the collection when absolutely necessary, and then with the utmost attention to detail. THE KEY TO COSTUME EXHIBITION ‘These high standards and the extensiveness ofits collections ensure the success of the exhibitions held by the Kyoto Costume Institute. The KCI stands in opposition to the general trend of the past rwo decades where the establishment of a museum structure is privileged above the quality of the collections inside. Despite the fact that the KCI has mounted superior exhibitions every four to five years, often in conjune- tion with the National Museum of Modern Are, Kyoto, the institute itself still does not have its own large- scale exhibition space. ‘The Kyoto Costume Institute's first major exhibition, “The Evolution of Fashion 1835-1895," was held io the National Museum of Modern Art, Kyoto, in 1980. This exhibition and others that followed were designed to introduce the world history of Western fashion as an enjoyable, beautiful, and universal cultur- al property. Several of the KCI's exhibitions, such as “Revolution in Fashion 1715-1815,” “Japonism in Fash- ion,” (“Japonism 8 Mode”) and "Visions of the Body: Fashion ot Invisible Corset,” have also traveled co Paris and New York, receiving accolades for their presentation and their accompanying catalogues. [An exhibition of clothing requires a different approach from the exhibition of a painting. ora sculpture. For example, for clothing, mannequins are frequently used to mount the show, and most museums do ree- ‘ognize that mannequins are an essential part of an effective clothing presentation. However, because fash- jon has changed not only the shape of clothing over time, but also has especially altered the basic shape of the female body, the KCI has given much thought to the construction of mannequins uniquely appropriate oeach exhibicion, Corset 1580-1600 French, Iron with scroll motif; one front and two back pieces; opening at center-back, Inv. AGI250 95-45 Gift of Wacoal Corp.26 With the death of Louis XIV and she coronation of Louis XV in 1715, a smart and sefined style called “rococo” had blossomed. Though the term rococo was later used inthe nineteenth cencury in a derogatory sense, suggesting excess and frivolity today icrefers roa general artistic style emblematic of harmonious French culture. The culture responsi- De for the rococo style was characterized by the pursuit of personal pleasure. Since that pursuit nacurlly included clothings it, r00, was toon elevated to the realm of art. Though France was already an acknowledged leader of fashion, during the reign of Louis XIV, the rococo period confirmed the country’s reputation asthe leader of women Fashion worldwide. ‘After the intial popularity of rococo, clothing styles veered of in ewo diametrically opposed fashion directions, one involving a fantastic cance of artificial aesthetics, and the other a deste to return to nature. The French Revolution in 1789 modernized many aspects of society and brought a clear shift in clothing, styles from decorative rococo to the more simple dress of neocasscism. This radical change in clothing sys, a phenomenon unique inthe history of fashion, is reflection of the momentous upheavals in te social values ofthe period. Women’s Rococo Fashion For women, the esential spirit of rococo fashion was rooted in elegance, refinement, and decoration, bu dete were als elements ofcapriciousnes, extravagance, and coquetty. In coneast the dignied solemnity of sevemeenth- century cstume, womens deess ofthe eighteenth century was both ornate and sophistcxd. Mens costume in che sevemeenth century had been more extravagant and colorful than womes. but women now seized the initiative snd thee cour costumes became splendidly clegane. At he same time people also sought a comfortable lifestyle, one in which they could spend leisuely hours in cozy sitting rooms surrounded by knickknacks and cheie favorite furniture. To accommodate these more dovrn-to-earth urges, relatively rlaxed and informal style of dress also appeared ‘A new style in che early eighteenth cennary was the roe volante, oF the flowing gown, derived feom the négligé popular toward the end of Louis XIV's reign. The characteristic feature of the gown was a bodice with large pleas flowing fiom the shoulders to the ground aver around peticoat. Although the hodice was rightly molded by a corset, the loose-fiting pleated robe gave a comfortable and relaxed impression, Following the robe volent, che typical women’s r9caco gown was called the beds fran, and this style was worn as formal court dressup antl che Revolutionary period. TThrowghou the period, the basic elements ofa woman's costume consisted ofa robe «petticoat much like what ‘we would cal a skire today, and a iangular stomacher wom over the chest and stomach under the front opening of the robe, These garments were worn over a corst and a pannier, both of which formed the body sillouctee, (The teem coir was nor used ithe eighteenth cen, bu is usd ere to refer to an undergarment stiffened with whale- bone stays, ealed corps, or corsa balene,) With only the decorative detail changing decade afer decade, such were ‘the fundamental components of women’s dresses unilbthe French Revolution. Primers such as Jean-Antoine Wateau, Nicolas Lancret,and Jean-Frangois de Troy portrayed these splendid dleeses in great detail, depicting everything from individual stitches of lace down ro insricate footwear. In Geraint Shopsign (1720, Schloss Charlottenburg, Berlin; ill. p. 39), Watteau dramatically delineated te elegant gowns of the clay and the delicate movement of their pleas, and captured thee lustrous, smooth textures of satin and silk, Although he himself did not design them, such double-folded pleats a the back lates became known as “Wacteau pleats.”Extravagant silk fabrics produced in Lyvas, France, were essential for rocace fashion. From the seventeenth century onwards, the French government supporied the diversification of sil fabric production in Lyons through the development of new laom mechanisms and dyeing technology. French silk fabrics guied a reputation foe cop dqualicy, and replaced the Italian silk products tha had been dominant dung he previous century. In the mid eighteenth century, the golden age of rococo, Louis XV's mistress Madame de Pompacout appeared in porteats wearing exquisite gowns made from silk fabrics of the highest quali: In che Francois Boucher poctrait Madame de Pompacour (1759, The Wallace Callection, Londen: ill. p. 56), she wears atypical robe dle fangs, the gown ‘opening atthe front over a tightly fited bodice, A petticoat and wiangular stomacher can be seen under the robe. The somacher is richly decorated with adder of ribbons (él), whic accentuates the shape of her boson, ‘whieh i seductively lftcd and formed by the coset. In addition, engageantes of top-quality lace adorn the cus of the dress. Flounces, lace, skbons, and arfcial flowers embelish che entire robe. Akhough the ornamentation might be sid to be exccsive, the emer harmonize well and presene the most sophisticated and delicate spc of Dring the same period chat rococo reached such decorative heights, the aristocracy found itself euming toward the fashion of the commoners for hints on how to dress for a more comfortable lifesyle. The functional coats an 'scostumes, which gradally tended toward simpler styles, ‘except on formal occasions. A practical short coat called a cauguin or 3 cirace was doped for everyday wear, a robes were simplified. The stomacher, for example, once atached tothe robe with pins, was now replaced by the relative case of evo flaps of fabric (compres) that connected the fromt opening of the robe. The growing popularity of simpler, more functional dresses in France atthe time was in part duc to "Angloma- nia,” fascination with all things English prevalent at the time in Freach culture. The frst signs of Anglomania in men’s costume ca be found inthe final years ofthe reign of Lows IV, and then in women's costumes afer 1770. ‘When the English custom of walking in the countryside and enjoying the open air became popular among the French, the robe resrowsce das ls poches speared 2s fashionable tye for women. The skirts were pulled through the slits For dhe pockets in the side ofthe dress and draped over the back in a practial arrangement orginally created skins of exdinay people influenced aristocratic wo for working-class women to wear while at work or walking chrough the town, This Fashion wassucceeded by the robe Ue polonaise. In this syle, toe back ofthe skice was held up by stings and divided ineo thre draping parts. Pola! was divided (Fist) by te kingdoms in 1772, and iis said that the term rabe la polonaie derives from this political event. When te pleats atthe back center of the robe were sewn down all the way tothe waist the style was called rabe Langlais, oF English style. A robe Tanglate consisted of a fronv-closing robe and a perticoat that protrudes from under the rar bodice, which has 2 poitmed shape atthe lower «end. Sometimes the robe was worn without a panne, ataining is round shape solely through the drapes ofthe skit Late, during the Revolutionary period, the trend incorporated the stomacher and skirt, and was transformed into a ‘one-piece dress, oF round gown, Elegance in Men’s Fashion During the svemeemth century new, colorful, and orate men’ costumes castanty appeared, bucin the eighteenth century mes fshion was more sable andl ks garish. The habit le fongase atypical cighteenth-century Preach suit, consisted ofa coat (suit called jstaucorp inthe seventeenth century) which gradually became ited in shape, a waist ‘oat, and breeches. A white shit, a jabor Fill, cravat and par of silk stockings completed the men suit, ”28 Bilan colors, intricate embroidery, decorative buttons, and elaborate jabots for the neck, ches, and cuffs were the Jimporcane clement for genlsmen dressed in the rococo style. In partiulat the coat and waistcoats ofthe typical suit (the habit le fmgase) were elaborately embroidered with god, iver, and muikicolored threads, sequins, and artificial jewels. Many embvoidery workshops were located in Pais during this period. Cloth foe jackets or waistcoats was often ‘embroidered before tailoring so that men could first choose their favorite patterns, then order the suit cut and sewn co ‘Anglomania, evident in French men's costumes fom the late seventeenth century, continued tobe in fashion. For ‘example, the collared English riding-coae (redingot) was adopted for town wear san alternative wo the French coat. Daring, the ler half ofthe eighteenth century the French version of the English frock cos, or fia, appeared. This was a jacket witha tuned down collar, generally conscuete from a plain-colored fabric. On zhe eve ofthe Revol striped pattems became popu, and the passion for elaborate embroidery on men’ sits disappeared. Duc tothe Eng: lish est for simplicity, the fhe continued eo hea standard icem of men’ clohing throughout the nineteenth century, long with the panraloons chat eventually replaced breecbes. Exoticism: Chinoiserie and Indienne Europeans had long been intensely curious abou various items impored from the Fast In the seventeenth century the importation of remarkable Chinese decorative arts brought new form of exodcism and created a vogue for cinotierie. Cornples, curvaceous forms based on Oriemtal aesthetics and seniiliy inspied painters such as Jeanr Antoine Wateea and Francois Boucher, who were fascinated by exotic Chinese scenery and customs, In aristocratic residences, the siting oom was often decorated with rare Chinese faminuceand porcelain, and in the guden ic was noe uncommon e small arbor anda pagoda. Diese also reflected Chines influence. In particular, exiles with asymmetrical paterts and unusual color combi nations found popularity atthe time, The desire for exotic culesal details and vavery stimulated an iwerese in Bizaere silks, wngen embroidery, Pekin stripes, and in Nankeen (yellow corton from Nanking, China). Even dhe names ofthese materials evoke an exoticis value by ate s0coo» cukue.s accesories, oxen folding fan, which had been impor ‘anc accessories in European fashion since the sigeeth cenury, were now all upon to complete the chinaisrie semble Europeans did not accord Japan a distinct national cura density uo the lcer half the nineteen cemtary, ‘hen the “Japonisin” movement rook offin Europe. However as eaily as the seventeenth and eighteenth centuries, Japanese kimonos were imported by the Dutch East India Company and worn by European men asa incor gown. ‘Since che supply of authentic imported Japanese kimonos was limited, oriental gowns made of fudienne (Indian chinta) appeared to help satisfy the demand. These were called Japonscherockenin Holland, ros de chembredindicnnein France, and banyans in England. Duet their exotic Feature and relative rarity they became status symbols of wealth "The indienne, painted or printed cotton fabric made in India, became so excessively popular among, Europeans ding the seventeenth cencury that authorities felt compelled to ban the import andl production of fade wail 1759- Once the ban was lied the printing industry immediately grew. Among many print fabric, the Jouy print, became especially well known. Christophe P, Oberkampf, who sec up the Jouy factory in the Versailles suburb of that name, profited fiom timely developments in both physics and chemist. Through technical innovation, he invented a new printing technique in place ofthe conventional resis-dyeing method, and adopted advanced printing techniques from England.Primed cotton fabrics became the uend nox only for clothing, but also For interior decoration; their exotic and refined multi-colored partems were appealing, and they were priced more economically than ik fabrics. Printing Fa ‘ories sprang up all over Europe inthe eighteesh cencury Initially merely imitating, indienne, these factories inspired technical developments such 2s the invention ofthe copper roller printing system, which made possible the mass pro- duction of printed fabrics. The popularity of cotton fabrics during this trv helped give tse co the shift in favored mate rial or clothing fom silk to cotton during the Revolutiorary period. The Fantastical Aesthetics of Artifice and the Return to Nature ‘As the ancien région eer onthe verge of collapse, the lly-matured rocaco style wane in importance. In the 1770s, the typical women's court costume wasa huge skirt pushed out on both sides with a wide pannier, and high Man's Suit (habit a la frangaise) French ‘Thrce-piece set of cout, waistcoat, and breeches; coat and waistooat of blue sll satin; waistcoat of white silk taffeta; Beau vais embroidery self fabric-wrapped bur Ins. AC3308 86-6-12AC© Man's Suit (habic la frangaise) uit (habie ila frangaise)‘The guild of tailors had been established since the medieval period in France, and their role was strictly regulated. Although a company of dressmakers, Ler Mafmeses Cou- Peet eee ene ee eae ea eee Se a accepted as makers of boch men's and women's coure costumes and corsets. ince a ‘man’ strong hands were needed in order 10 See ete ee ees Sea eee er oes pe Pale blu silk brocade with floral pater; lacing at front and back; ribbon-tiedsleevess ents Pie onveenra ET) Center ferrocene’ Rierneetg rose) Beige plain-weave linen with leather tim oe ens ected Right Corset oe eg ore ee ae ee side lacings, pocket a inside center front coer Inv. AC ceaut che eighteenth century the sl hhouette of woman's dress was formed with comet and a pan idee to push up the bust fora fem the corset was framed with pi appearing inthe early eighteenth e the pannier became a mandatory item for ccoure dress up unl the time of the French Revolution, As the skirt widened in te mid- cightoenth century, the pannier was mod fied and split into left and right halves, Such frequently became the subject «178 wal rattan hoopsand padding: chemise Inn AC337 77-12-51, AC 7682 99-14, ACE289 Sop-6 © The Old Coquette from German eatica- tute, ©1775 Pattern of corset on right page made by KCIis Corset oe Por Beige quilted silk taffeta; front lacing with hand-darned eyelets; boned at center frone and back and both sides; straps ied with ribbon, ae on ee eons Corset Cee Rr mens hand-darned «eyelets; boned throughout; probably altered from a mid-cighteenth: ie The Fad for Corsets” from Le Covet, . 1809 xer, below ents Pend Beige plain-weave linen; boned throughout; back lai earn Right Corset So een Sacer toadjus: front lacing: straps tied with cad. ay oteet eee eee ‘women no longer wore the corset and the pannier, and the tend of fashion dramad ee eee neoclassical style. Around i804, a new type een ete) Pee ett cir ee aes ns od corey Nee Ceres pores are ee oes eer eeata er oe ear etd Brown couril: boned at bust. foe Corset eet White conga sateen; cord quiking: straps; back lacing with metal eyelets; triangular ee cet td ie erent Corset ees White cotton sateen; cord quilting; saps back lacing with hand-darned eyelets trian ‘gular gusset and drawstring at bust; metal ie De ert Td esa ind Pah eee tee neat50 ‘During the eighteenth cencury, France was recognized 2s 2 worldwide leader of fasion for women, That reputation was consolidated in the following century, and inthe realm of women’s ishion France became the unchallenged authority. ‘The English dominated men’ fashion, however, thanks co an advanced wool industry, superior textile machinery, and the more refined tailoring techniques developed during che eighteenth century. These distinc influcnces led ro expres- ike “Parisian Mode” and “London Tailoring” Ducing the nineteenth century, constanily fluctuating silhouestes characterized womens fashion, whereas men's clothing stained is basic form and changed only in minor details "The French Revolution of 1789 brought about che collapse ofthe radiional socal hierarchy and saw the rise oF wealthy bourge French society throughout the nineteenth century. Up until the period ofthe Second Empire (1853-1870), French nobily enjoyed a renewed position of power, and Empress Eugenie, the wife of Napoleon IIL, became a prorwinent Fshion leader. The clas sructute of society again collapsed in the petiod of the third Republic (fier 1870), and fashion leaders once move diversified accordingly. Gradually the central Figures of the fashion scene became the wealthy bourgeoisie, actresses, and demi-mondaines (high-class courtesans) all of whom became importane elienrele of haute coxcure i ce latter half ofthe century. In the second half of dhe century the pursuit of fashion came to be enjoyed by a larger segment ofthe population, and trends began ro reach even the ower clases. ‘The invention in France ofthe department store inthe 1850s cn. tributed dramaccally wo dhis expansion by providing freedom of choice combined with a variety of merchandise at rea- sonable prices. Due to international exhibitions, che frst of which was held in London in 185, and ee activa of public transport like railroads and steamships, intemational commerce experienced an unprecedented upswing. Fashion maga- that came to character zines, the tte of which Surgeoned rapidly during the nineteenth eencury, helped Parisian feshion to be recognized around the world by the second half the century. The Empire Style and Court Clothing During the frst chaotic revolutionary period a dramatic change occurred in womens fashion. The chemise dress, so named because ofits resemblance oa chemise undergatment, became the dominant fashion. Its simpliciey sood in stark contrast co the full rococo dresses ofthe preceding era. Undergarments such as the conse ane pannies, which had been necessary to form the exaggerated shape of women’ rococo costumes inthe previous century, were abandoned. ‘Women prefered to wear thin, slmose eeansparene white coxton dresses wih fe or no undergarments insead. The ‘chemise, with its high waistline and single-pieced bodice and skirt had a clean, tubular silhouette. Marie Antoinette wore prototype ofthis dress, or chemise la reine, as can be seen ina portrait of het by Elisabeth Vigée-Lebrun (1783). A later portrait, cis time of Madame Récansier by Frangois Gératd (1802, Musée Carnavalet, Paris il. p.157), illustrates how that dress sae gradually blended inco the style of neoclasicism, which celebrated the refined and _geomesic forms of Greek and Roman antiquity Diaphsnous materials ke muslin, gauze, and percale were chosea for the simplicity. These fabrics also suggested thar the function of garments was to rap, rather than mold, the body. “The chemise was emblematic ofa newly developed aesthetic consciousness and of pest-Revolutionary values in France. However, the European winter was too cold forthe chin material ofthe chemise, so cashmere shawls wrapped around the shoulders became populac co warm its wearer and ro complemen the dress. in addition, practi ailored English ‘outerwear such a the spencer and the redingote helped to keep the cold at bay. These outer gatments showed a strong influence of Napoleonic military uniforms, which had adopred atractve bold designs to emphasize che power ofthe tzoops. Cashmere shavas from Kashmir, India re sid ro have eatght on when Napoleon beoughs them back co France following his Egyprian campaign in 1799. Because ofthe exoic paces and appealing polychromati colorsofthe shawls, they became extemdy popular as acessories wo be worn with the simple chemise des. They were, however very expensive atthe time and suliieny valuable to be recorded in wills and trouseau lists. ARRer the 1830s, the popularity of cashmere shawls spread to the general public and by te 840s huge shave industees had sprung up in both France and England to serve the demand. In Lyons, France, huxurious products were made with superioc materials, whe les expensive woven and primed intatios were mast-prohced in the Scotish town of Dsley, The name “Paisley” grew tobe so widely known that it became synonymous with the cane pactera often aso- ciared with cashmere items The vogue for cashmere shawls continued ual the Second Empite peti, witen an over sied vervon wora with crnolnes became the domninane syle. When the demand for cashmere shawls eventually diminished, the production industries suffered a decline. Ace the Revolution, sik was replaced by more favored corton materials from England, and the silk industry in Lyons, a diving force ofthe Freneh economy, fll int a serious criss. Concerned withthe economic situation, Napoleon made an effort to revive the French indasty by imposing customs dates on imports rom England and by prohibsking che public fom wearing English mastin, bt these measures df not warn the td ofthe wend. Upon bis coronation as Emperor in 84, Napolcon began to use clothing a political medium, He issue an imperial ordinance chat both women and men wear silk garments ac formal ceremonies, ad he successfully revived the extravagant court drs style ofthe pre-Revohionay ea.The stk ceremonial dress and cou train (manta de cour) woen by Empress Josiphine a Napoleons coronation and depicted in Jacques-Louis Davie’ famous paising (0805-1807, Musée da Louvre, Pais il p. 166) show she typical eour syle of the Empite The empress velvet. cour rain with ermine lining symbolizes the hexwioustes and authority of dhe Feench court, and ilustates how the ideology of revolution had been firmly seaside. This syle of court cra long remained standard garment in «he European cours. During te fest decade ofthe nineterth century the outline of women's dothing die noc undergo any dramatic chsange, bur skirt lengths were shortened after Sto, Once again, undergatments were back in demand the hte, which later beeame 2 protorpe of the rast, came ino use, as did soft cosets without whalebone reinforcements The preference in clothing material shifted wo, from cotton back wo silk, as flamboyance i decoration and color returned to fashien The Romantic Style ‘The raised waistline ofthe Empire styl dress dropped back down to a more nacural position by the mid-820s. Simul- ‘ancously, corsets once again became necessary for wonnen’s fashion since smaller waists were recognized as an important feature ofthe new style. Skirts, by contrast, were broadened to a bel-like shape, and their lengths were shortened to reveal the ankles. Elaborately decorated stockings appeared to adorn the now visible fet. Bur the most distinetive crenl ofall during this period was the gig or “leg-of maton” sleeve, which ballooned out deamaticall fom the shoulder : sand then naizowed in a the cuff. Sleeves ofthe gigoe tye eached their greatest volume aroun 1835. Anexer salient feature of fashion was the dcolle, which became so wide that fichus and capes were often necessary to regulate expo- sure during the daytime. Berthas and shaw-lke garments were also worn frequently. To offset and balance the volumi- nous sleeves an yawning necines, hairstyles and hats were also enlarged, with elaborate decorations of feathers, ati ficial flowers, and jewelry. ‘The fashion conventions ofthe period were heavily influenced by Romanticism, which pursued imaginative and romantic impulses and fostered tase for historical or exotic worlds. The romantic image also demand that dhe ideal 15asa woman be delicate and melancholic, An ative, heathy image was considered vulgar, and hence pale complexions were much admiced. The Romantic style also borrowed dress, hair and jewelry nuances from court dreses of the ffcemth and sivceonh centuries, che fvovite period sting for mich theatrical drama ofthe tite Crinoline Style ‘The fundamental syle ofthe 1840s continued ito the 140s, but che more extreme embelishments sch a igor sleeves, gradually went out offishion and calmer designs were estored. Waistines, nonetheless, grew continuously ng contour of the skirt was formed through che consecutive layering of ion on wornen’s activites. However, since sole, and srs kept expanding. "The swe pettcons underneath andthe blast have proved seer imi physical exertion was considered nladylikein high society atthe time heavy clothing was viewed ls «reserve clemene than an indicacroffllens. In ado to increased width, skins were also engthened gai ta sweep the floor, hereby emphasizing a woman modesty. Shires te 1850s were characterized by lounces lysed horianally to accent the cone shape. gio sleeves were beginning to disappear. Pally shoulders eve way to filler wrist areas Hats alo shrank to small, moderate bonnets or eapote shapes, which deruscy hid the Face. The pair Jan ‘Auguste-Dominique Ingres acurstely depicted these fashion trends and changes inthe ist hal of che inset cent: ‘The end ofthe 1850s saw a drastic change where skets were concemed. Thanks to the invention of new clothing, ‘materials, the “cage crinoline” or hooped pesticoat appeared. In the 1840 the term “rinoline” refered to perticoats made of crn (French for horschait” interwoven with hard fn (“linen”). Afer the 1850s, the erm came to Mean a petticoat with a cage frame constructed out of steel or whalebone hoops, of any wide skirt dhe included such a cage ‘With the coming of cinoline, skirts took on extraotdinary widib. The development of steel wite, major advances in the textile industry, and the practical use of sewing machines all meant thac criaoines were enlarged even further. The continuing iegprovernent of looms and dyes mde posible a wide variety and quanxity of material for skirts, The lange «demand for fabri during the time of erinolnes continued ito the nest petiod as well; the buste-stleskire was rmuch reduced in girth, bue required a grat deal of material fr is wemendous ornamentation of ribbons and Alounees. The French clothing industry, and in parcicular the silk testle market of Lyons, received the fll benefi of this, increased demand for fabric. Napoleon III supported the textile industry as part of is policical strategy, and the French bourgeoisie welcomed the policy. Farnous coucutirs like Charles Fredrick Worth designed dresses using rec ncally advanced and artistically refined silk from Lyons. These developmemts helped Lyons cegain its reputation as che distribution center of materials for Parisian fashion. Bustle Style From the end ofthe 1860s, skirts began to grow voluminous at che tear, bur markedly lat inthe front. This silhouewe was made posible by the support of an undergaement called a bustle (fournare in French). Bustles were pads that were placed over dhe buttocks, framed and stuffed with various kinds of material. Skirts or overskies were sometimes ‘bunched up at che back to lend them an exaggerated shape. With only minor changes in detail, eh Bustle style contin ‘ued through the 1880s. The typical silhouette ofthe 18808 dress can he seem ceatly in the painting A Sunday Afternoona0 the Mand ofLa Grande Jae by Georges Seura (1884-886, The Art Inte of Chicago il pp. 2541255) depicting a weekend scene among the general public. This painting also reveals the Fact chat the hig fashion syle of the bustle hha definitely filtered down tothe lower dass. In Japan, che bustle syle was known as the Westemized attire woon in“ Rokume-tan,” th oficial guesthouse, which fanctiond asthe center of Westernization in Tokyo during the Meiji Restoration (1867-1912). ‘Most dresses afer the mid-nineteenth century consisted of ewo separate pieces, a bodice and a skirt and as the ‘century drew toa close the desire for decorations and details increased. Dresses came be adorn at every fol with various and complicated omamemts. Asa result the wearer’ natural bodyline was nary imposible te detect. The only ‘exception to this rule, a one-piece dress that displayed some of the wearer's tue shape, emerged in the eatly 1870s. The dress was dubbed a “Princess Dress,” as it was named in honor of Princess Alexandra (1844-1925), who later became Queen of England Hairstyles toward the euen ofthe century teflected a preference for voluminous chignons. Headwear, almost a requirement in the nineteenth century, evolved inco small hats with a thin brim, so as 10 avoid covering the elaborate Inairstyles, Toque, with virally no brim, became especially popular for this reason. S-shaped Style The period between the end of the nineteenth cencury an! the outbreak of World War I was referred to as “he Belle Epoque,” when beiliant decadence mingled with a joyful liveliness brought about by people's expectations forthe new cenury. The transitional atmosphere brought a breath of new life ro women’s fashion. This period saw a dramatic change from ninetcenth-century artificial clothing igured by seructral undergarments to twentieth-century styles, ‘which pursued the expression ofthe female body itself: Marcel Proust capuured and precisely described in Remembrance of Thing Pass the substantial transition inthe structure of women’ inner garments. Important developments emerging from this period were che S-shaped silhouette and the tailored suit for women, “The S-shaped silhouette involved adress thac emphasized an extremely small waist by forming large, forwand- projecting breasts, and protruding reat. Underwear companies concocted various corsets to achieve the tiny waists sought fortis style. The S-shaped figure of women resembled the sinuous, organic forms that were the ideals of Art Nouveau. In pare ticular the Boating line of te bell-shaped skit wih train resembled he floral motif often adopted by Art Nouveau nists. In che field of decorative arts, such as accessories and above all jewelry, the innovation and outstanding quality of Art Nouveau design is clearly evident Prior to the nineteenth cencury, women had already worn tailored suits (aveazane) with elements borrowed from men's dothing for horschack ring, The fad of suits as clching for sports and travel hegan wo cach on in the ler half cof the century. Finally, between the end of the nineteenth and the beginning of the ewer {0 wear tailored suits Fora wide range of general occasions, Womens tailored suits ofthe vime consisted of x0 pieces, a jacket and a skirt, worn with a shirewaist (or blouse) underneath the jacket. Because of this preference for suits, the blouse began to be recognized as an important element of women’s fashion, an the tren was accelerated by the appearance ofthe "Gibson Gils,” as portrayed by the American ilistrator Charles Dana Gibson (1867-1944). In the case of dresses, contrary tothe tendency 10 simplify and follow the natural line of the Female body, gigantic igor sieves made a fleeting comeback in the 189s, bu the tend faded away around 1900, Similarly hats were large an! decorated with outrageously extravaganc omamens such as stuffed birds and these remained popular uo the beginning of the ewenticth century. h century, women started 15314 The Development of Undergarments By the later hlfof the nineteenth cencuy,indusrial modernization improved the average lifesyle, and clothing was in abundance. A strict social etiquette arose regarding atte, and women had to change their garments seven or eight vimes a day vo meet the dictates of society. The following dtess names for example are indicative of the fh women were obliged o change their outfit: mocning gown, afternoon tea gown, visiting dress, nighe goven. Numerous new kinds of undergarments were created to fill out these new dresses. In addition tothe chemise, drawers and petticoats appeared, and all female undergarmenes ook on decorative qualities, Various undergarments supported the rapid changes in silhouette, Crinolnes, bustles, and corsets, ll essensal tothe sculpted silhoueste of the nineveenth century, were inrolced in new models with various novel devises and inventions, many of which ‘were patented Dramatic advanoes in steel manafzexuring made possible this new expanded selection of crinolines and bustles, Steel wires and springs began to makean appearance ia undergarments, in addition to the usual cloth, horsehair, ‘whalebone, bamboo, and rattan suppons. The invention of sel eyelers in 1629 madle corsets extremely effective sil- houette-makers. They continued to be considered by women che most important undergarment until the beginning of the wemteth cencury. ‘casos foe whi evening dress (forthe theater), ball gown, dinner dress, home gown (before bed), and finally ‘The Beginning of the Fashion System “The textile industry accomplished astonishing improvesens for certain sections of society inthe ninewemth eentu- 19. The frst half ofthe century witnessed the mechanization of printing and improvements in spinning and weav- ing machinery. In 1856, the invention of aniline, the firs syrthetc dye, brought a dramatic change tothe color scheme of clothing The blues, vibrant mauves and deep red ha aniline produced were so es cha they were quickly embraced by the bourgeoisie. Additionally, sewing machines, made practical by American Issac Meret wediately caught on in the hin Singer in 1851, showed remarkable performance in garment construction and it industry. The notion of “eady-made” clothing arose nacurally in such an environment. In America, methods of producing ready-made clothing had improved rapidly during the Civil War to meet the increased demanel for mili- tary uniforms. In France, the first mass-produced clothing, known as “confection,” was cheap, but came in impre- In contrast to an industry in simple and functional ready-made women’ clothing, a high-end haste couture market also gor off to a good stare daring this period, and turned out to be equally prosperous. An English coura- ret, Charles Predetick Worth, established the basis of haute courure as it exists in today’ system, He opened his ‘maivon in 1857 in Paris, and inroduced che practice of presenting a new collection of his own designs foreach sea- son, Moreover, by putting therm on live models, he radically changed the method ofthe preseatation ofthe clothes. Through Worth, the modera fashion system in which mulciple people may purchase one couturier’s creative work. was successfully established.Clothing for Sports and Resorts By the later half ofthe nineteenth century, the common standard of livin for certain sections of society was 30 improved that people had more opportunity to enjoy leisure activites. Travel to resorts to escape from hor or cole weather became posible with the advancement of public transportation, and rapidly grew in popularity. A love of sports activites, roo, spread tothe general publi. In this peiod, the principal elemcats sil present in meriscleching today, such as jackets and three-piece suits, appeated a informal clothing fo aetiviis such 28 rave and sports ‘Wemenis clothing for sports such as horseback riding, hunting, and tennis was somewhat practical but not sgnificanly dlffereat co theic town clothing, Even though sea bathing was considered a medi atthe time, ‘women wore meant mostly just frolic ar the edge ofthe sea rather than go sivimaning in the water. Their bathing nally healing practic dresses were meant ro double for sports and for beach excursions. More practical swimming outfits, swimsuits consist- ing of tops and trousers; finally came about i the 1870s ‘As the nineteenth century drew to a close, skir lengths began to climb due to the popularity of more active sports like golf and skiing, Knitted sports sweaters were introduced ane a men’s jacket called a “Norfolk jacket” was adapted Jno hurting. wear for women, Scocish rarans, practical to use and unique in colors and pattems, became fashionable 5 resort clothes after they were worn by Queen Victoria. Furthermore, rousershaped “bloomers” finally became accepted as Functional cel clothes for women inthe 180. Fest advocated inthe mid-nineteenth century by the feminist Amelia Jenks Bloome, from whom they rook thet name, the arial of bloomers coincided with newly begun campaigns for women's rights Japonism and Parisian Mode Wich the opening of Japan to international trade in 1854, European interest in Japan grew rapidly, and “aponisn ‘emerged as a tend in the early 180s, lasting undl around 1920. Japonism influences in fashion appeared in various ‘ways, First, the Japanese kimono itself was worn as an exotica home gown, and kimono fabrics were uilized in the making of Wester dresses. Fine examples of bustle style dresses made of hovade (visiting kimono) material survive Japanese motifs were also adapted and applied to European textiles. In textiles produced atthe time in Lyons, for exam. pi, Japanese paterns such as natural mot, small animals, and even family crests can be found. Ax the beginning of ‘he wentcth century, the custom of wearing a kimono as an ac-home gown can be seen in Madame Heriot by Piere Auguste Rensir (1882, Hamburger Kunsthalle, Hamburg il. p. 290). Eventually che garment evolved into a more thoroughly Westeized, kimono-shaped at-home gown. The word "kimano” came to be used ina broader sense in the West, encompassing a variety of lunging robes. Uhimately, in the twentieth cent the silhouette and flat con seruction ofthe imensional Western clothing and the world of fashion nono would exert a great influence on thee: Miki Ilvagami, Lecturer at Sugino Fashion Callege . 155“The high waistline was in fashion from the ‘dof the eighteen cerry, but the waist ‘etumed to its natural postion around themid-18208. Consequently, a thin waist Pecan important, andl the corset was once agin in demand. From then on che shi ‘raisin obsession escalated, and the corset, abhough changing in material and shapey ‘continued 0 tighten the waist unl the aging ofthe twentieth century. “Thecorsets shown here are of the type worn when chin waists came back inthe 18208. “This type has a soft fel cot, and the pres sure that i pus onthe waist when tightened ‘sno escenive. Shown on the bottom right aresleve pads to be worn under the fashion hl gio sleeve so tha tha che puff ofthe seve would sand out Lftand above right Corset, Chemise and Drawers sf20s ‘White corse of quilted cotton satin wih soft Is and bone (bust: app. 80 em; wais app. 49 cm) chemise and drawers of white fine, Ins. ACs140 85-24, AC2827 70-24-21, AC 3661 apr 9 Corset, Chemise, Petticoat and Sleeve-pads 05 White corset of cord-quilted cotton sa With embroidery: white cotton chemi linen pctcoat;sleeve-pads of cotton stuffed with down, Iw ACa19 77-11-59, ACI64 78 P8354. AC4S§ 97-18-2AB ACi4gIn the 18408, the e disappeared from the fashion scene. Skirts with layered made their first appearance enscro expand women’ skirts without y petticoats, Shown here are line ro emphasize the thin waist, and a sofily puffed-up skirt. All of these styles put emphasis on the sensitive, graceful and «Evening Dress Green silk brocade with white floral patter ‘wo-pioce dress silk satin piping on b + Wedding Dress 1845 Whit silk eaffera with embroidery Pages 210/208 Day Dress Ble and purple chargeable silk taffeta Inu AC 4474 85-110The word “dandy” first surfaced as a name for refined men in England in the early nine- teenth century. Encouraged by the Restor. tion in 11s, aristocrats who had fled to Bricain returned to France, and the dandies who recurmed to Paris became a feature of the city. Their clothes were in che simple and Functional seye of English fashion. Since the style was simple withour decoration, a cut-to-it, perfect tailoring technique and the use of superior-qualiy fabric were stressed, The carefully combined color scheme, and the cu thac perfectly fits the body line, make this typical 1830-style dandy suit almosea work of art Man's Ensemble 18308 Dark brown tal coat of woo! broadcloth with velvet collar; waistcoat of black silk satin with cut-velvet woven floral pattern: trousers of plaid cotton twill; silk pongee scarf Inv. AC7765 93-19-6ADUnuil che eighteenth cemmur ‘children’ clothes" did not ¢ hill was con miniature vesion of an adult, and children’s wear was just a red jon of adule ith the influence of Jacques Rousseau’ "etura to nature theory, acemprs co find p a ing for children final the eighteenth cencur on still had a strong influen Day Dress en and white plaid silk effec; skiee wit I's Dress cotton muslin with embroidery: skir ed skiee with b ih fringeDuring the mis-ninexcenth century, skirt shapes became even rounder and m © Even Early 18508 Light blue silk taffeta brocade with woven. and tulle decoration > Day Dress Silver-gray sil pater of silver la hem of bodice and double-layered pagoda sleeves; white lace at neck; double layered tiered skirt. Iw. A BIngres was acclaimed for painting porerits that precisely capcured the personality and social background of the model. His clients were from the newly powerful bourgeoisie, and the extravaganc clothes that signified the social position ofthis class were depicted by Ingres exceptional skill Evening Dress e855 Creme silk and woo! mixed gauze with floral prin; triple layered tiered skirt Inv, AC0478 97-28-6AB auf » Jean-Auguste-Dominique Ingres Madame Moiteser (detail), 1856 National Gallery, LondonThe invention of petticoat made with horse hair (crn in French) suddenly made it unnecessary to wear lors of layers of pet ds the end of the 1850s, an inno crinoline, made by connecting a cries of hoops made out of stel and whal bone, was produced. Cage rinolines were fn and take off, so skirts contin rand, reaching theie maximum sie os. The cage crinoline grew our of proportion, and ic was troublesome just 0 walk oF pass through a doors chis mad everyday life difficult, and criticism of th crinoline gradually spread. The crinoine © Day Dress ich striped partern of cut Green and beige plain-weave plaid wool pagoda sleeves: trimming of silk caffera ribbon, Wool and silk mixed in barégew blue and white stripes; pagoda sDay Dress Day Dress Ik taffeta brocade set of and skirt, braid and lace on bodice C825 98-24 arple silk taffeta set of bodice hice lace and fringe on bodi s i rn eS, Sezeen eater as well as lace shavels were fivored. Lace, See een etn extremely labor-intensive to produce, could ee en ee oe tury, Because of industrial developments, large lace shawls became affordable. French towns like Valenciennes and Alengon were Preece ete ted Dad cr (ore ne eee eee ree large triangular shave of black Chansilly ies eee ce 233‘Tarktan, a thin plain-weave covton, dyed or primed and given a starched glaze, became s, Despe its th can be seen in the work of such panes Manet and Monet from the same peri partially translucent tariara. Day Dress Late 1860s > Claude Monet White cotton talaa set of bodice and satin and covonIn 1857 Charles Frederick Worth opened a ‘maizomin Pats, and bu the Foundations of haute couture. The Empress Eugenie was firs in a longline of aristocratic customers, and with penetrating foresight and skillfal strategies Worth controlled the Parir mode This vivid mauve example is dyed using ani Tine, a chemical dye invented in 1856, Worth 1 was the fits to use these hitherto impossible was quick to pick up on the new trend, transitional period in which fashion was © Charles Frederick Worth Reception Dress Label: WORTH 7, RUE DE LA PAIX, PARIS Purple silk fille set of bodice and skirts apron-shaped overskire with Fringe at Front ski wich che alternating flounces of fabie and velvet Inv. ACG167 94-35AB > Anos Day Dress 1870-1874 White linen organdy printed with blue striped pattem; bodice and skirt st; flounce decoration AC2210 79-9-15AB 9 Anonymous Day Dress 186 White concon oxgandy bodice a pleated decoration; underdress of ble linen organdy Ina. AC18501860 79-1-16ADe was named in honor of Alexandra, Princess of in style foe a short time, itcan he seen as an example of a nineteenth a used vertical tucks t + (later Queen of Britain). It had no horizontal ious” style. This example is made of organd ely tothe waist, emphasiri inlaid Valenciennes different varieties of plant-patte 10 meters of laces was used for this dees, and hips. It was fash around 1880, and though ic w2s only lace. ApproxinRee eee cy and Pinga’s lene, a major Parisian haute cawzurehouse a the time, and such designe Bees etree ee er en) ete heer ete eg dress. The floral designs woven inco the cloth look like small chrysanthemums, flow Pen eae enter ee influence of Japonism. Delicate and complex eee ee cusly applied tothe bodice and bustle, and narrow pleas were used for decoration on canes Poe eae Pree a areas flO NESEY ery Ce eee eT ey Perea nee cere sna Se eters tence Pereennn ts Oe Cee ea en lelree aon es ise of sill from Lyons, a city whose indust Pers eee er eke ene et artistry. The voluminous dresses of the per od, which used large quantities of Lyons silk, were a brand-new fashion char spread through the whole world, Lyons became firmly established asthe source ofthe fabric used in che Paris mode, This example isa tion that shows the great skill eee aes an Pere ee ee re ee effect to this dramatically designed dress. Charles Frederick Worth ferred PPM rene ease eos Pd See Ce eC ee) See eee ete and le einen rete eer! Se ee Pee een ee eer Peni eer eee)tos itey intricate material was fashionable. een pea fabrics, and it became possible to create inncicate and high-quality designs. Soon ales, however, from about 1900 onwards, there was a major change, andthe use of lighe materials such as chiffon and lace Dens cea Coat Cad Mr Loe eee es slicac back for busle-syle dress worn under See end De eres Sect Ree erry Brown cut velvet set of bodice and skire; eaeThe iste was a type of coat considered fash- Seen ee ee ee eee ee back ofthe dress, and decorations are ‘concentrated at the back to emphasize the design ofthe bustle, These decorations are ee eee eT © Charles Frederick Worth Ce ede) oo PS ea ees ry or Off-white silk fille; braid trimming with eee er ens oe ete front opening, cuffs and hem; decoration Eee ce een ent tid g fastened by hooks and silk satin eras yea ci or Cee ee Re ee Cine ere rer eet ee eee ee eee decoration of leaf and nut shapes ar bustle een eadIn the latter half ofthe 880s the bust reduced in size, and the entire dress changed toa more simple style. Ar the rear of th kit, vestige ofthe bustle style emai bur the extreme forms ofthe bustle syle vere simplified and toned down, On the left isan impressive sill brocade wich n patterns of ferns, similar to Japanese plants, giving a Japanese fla Ball Gown, Label: Rouff Pars Pale green silk satin embroidered with silver threads and sequins; bodice and skire sets train of gold sik brocade with plane pa Inu, AC 068 92-53AB Charles Frederick Worth C. WORTH PARIS satin brocade with oral pawern ‘of morning glories and silk fille stripes bodice and skire set; badice with silk tulle and jabot; tulle at neckline and cus silk tulle flounces on front of skirt Ina. ACp, AB“Throughout the nineteenth century, narrow waits were realy admired. Women used corsets inan effort to gt closer a perfect physical form. This foreble distotion and squeezing ofthe body continued ap until the beginning of the rwerncthcencury. With the ddeelopment of medeen technology, inven tors ereatedcorses of considerable ingenu- iy. In particular, the introduction of stel allowed great improvements in the tighten: ing ofthe waist with a corset. Corset » Edouard Manet 18805 Nana (detail), 1877 Hamburger Kunsthalle, Hamburg Biue silk satin; steel busk; bone Bust: 76 em, Waist: 49 em, Inu, AC212 77-18-2AB 276White cotton; see! busk; bone. Bust: 84 cm. Waist: 54 em. In, AC 4036 81-25-150AB 2. Corset Label; I.C. A LA PERSEPHONE 18908 Black silk satin embroidered with small floral pattern steel busks bone. Bust: 85 em. Waist: 56 em. Inu, AC3674 81-1-20AB 3. Corset 18708-18805 White cotton net: steel busk; bone Bust: 66 em. Waist: 45 em, In, AC2876 79-26-19 B 4-Corset 18605-18708 Brown raffia and cotton; steel busk Bust: 84 em, Waist: 67 em. Ine. AC 9246 9529-AB 5. Corset 1865-1875 White corton cout; stel busk: bone Buse: 84cm. Waist: 52 em. Inv, AG 80-549 6. Cors 1880s Blue-gray cotton satin; stel busk: bone Bust: 104 em, Waist: 81 em. Inv, ACa843 79-25-68 7. Corset Label: LOOMER’S 885-1895 Brown cotton satin; stee!busk; bone, Bust: 81 om. Waist: 54 cm, Ine. ACS144 8527AB 8. afb Corset (fro and back) Label: THOMSON’ 1885-1889 Wne-colored silk sain; steel busk; bone, Bust: 89 cm. Waist: 59 em, In, ACi49s 78-30-20AB 278aaIn the late 18205 skirts began to expand once again, Women wore several layers of pett- cout beneath thee skirts to increase t ‘volume. The simple idea of weaving horse- rench) ito the petticoat cloth ly 1840s, and the erino- cs could hen be held out with a singe layer of cloth, In the late 18508 people began using connected horizontal hoops of wire or whalebone to produce new and original versions ofthe cinolne, But with the appearance ofthis ight, easy-to wear etnoline the tanstion co leper skiets accelerated, and they reached their maxi- ‘mum sie ia che 1860s, This structure car- ried overt the next trend, the baste styles in which the skire was expanded towards the > Bustle 1870-1874 Steel-wite hoops and white linen ape In, AC2856 79-261 >> Crinoline 6.1865 Forty stelwite hoops, eleven wit linen tapes. Diameter fiom lef to right: app. 95 ems from font wo back: app. 98 cn circum fesence of hem: 303 em. Ine, AC;865 81-19 TINS th iOn| all 2aLefe Crinoline 1865 White and purple coston with twelve stee wite hoop: Diameter from left co right: 73 em from front to back: 81 cm; circumference of bem. 440m, Crinoline Label: THOMSON’S Diameter from lfe ro right: 58 ome from front to back: 59 cm: circumference of Right Crinoline 1865-1869 White coon with nineteen steel-wire hx Diameter from lft co tight: 105 em; from‘The use of crinolines allowed the overall ‘expansion ofthe shirt, buc in the mid-nine teenth century this expansion quickly became restricted to the back of the dress The large lower hem of the ctinoline skirt was sealed down, the skirt became flat over most of ts sufaces, and only the rea pro: jection remained in the new silhouette. This shape was supported from the inside by the bustle. In the period from the 18705 to the 1880s, there were many variations on the now filly developed bustle, supporting the form from the inside, and fashionably ‘emphasizing the posterior. A variety of ‘bustle constructions appeared, including, cushions filled with horsehair, stifly starched cloth, and frames of whalebone, bamboo and rattan, Above Left Bustle 180s White and red striped cotton with steel wire Ine. AC 0436 97-18-5 Above Right Bustle 180s White cotton lace with coiled stel sire. Inv. AG157 808-47 Below Left Bustle 1880s Wire mesh with cotton tape. Inu. AC 382 80-22-4 Below Right Bustle 180s > Georges Seurat Les Passes (detail), 886-1888 ‘The Barnes Foundation, Merion (PA) 284Bustle, Corset, Chemise and Drawers+ Bustle Label: ilegible) 1870s Brown and polychrome stfiped cotton with steel wie In, AC3178 Bo-7-1 ¥ Bostle Label: SCARBOROUGH ¥.C, & O. 18708 Red cotton twill with stel wire, Ins AC 2853 79-24-27, Page 289 Bustle 38705 Brown cotton satin with fifteen metal wites placed at backs black sill taffeta pleats at Tower back. (By fastening the inside straps, the fifteen wires can be lifted in order to adjust the volume to fr the dress.) In AC397 77-02-61 288As te 1880s drew toa close, the bustle reduced in size.‘The line ofthe skirt changed toa funne! shape, « aca slender shape with a flaring hem. In contrast o this, sround 1890 the shoulders expanded, and igo sleeves made a comeback. The upper parts ofthe sleeves were stiffened and greatly enlarged, reaching their egos size ix around 189s, This example has very large sleeves, and the chrysanthemum designs spread all over the textile surface are impressive, In the middle ‘ofthe nineceenth century, chrysanthemums brought fiom Japan to Western Europe received a great deal of attention, and around 1880, Western European countries created “Chrysanthemum Associations.” In887, Pierre Loti published his Madame Chpanchinne, and the image of the chrysan- themum asa symbol of Japan was estab- lished, © Charles Frederick Worch Reception Dress Label: C. Worth 1892 white silk satin with woven chrysandhe- mum pattern; large velvet gigor sleeves: lace decoration on cuffs and collar, Ine, AC9206 95 » Design of evening dress by Worth on fie ofthe Exporition universe de Lyon 894 Role de @hiree Grant Prrrasbrocke Cysonth imac ni Slope dela Maison SBachelant sO Gegrastin Unirrooll co Len ‘yh skire chat flows neatly into a funnel shape, complemented with large gig sleeves that gives the dress a fash. ionable Western European shape. However the prominent “morning sun with clouds motif forms a powerful association with The motif structure is asymmetrical. This com. Japan, the “hind of the rising position had nor previously been scen in Weseeen Europe, and is clearly influenced by Japanese arts and crafts, especially the kimono, Charles Frederick Worth Evening Dress Label: none 1894 Ivory silk sains silk chiffon bodice with gigor sleeves: skirt with sunbeam and cloud pat tern of bead embroidery iB Inv. AC4709 84 299Charles Frederick Worth Ball Gown Label: PARIS C, WORTH PARIS ©1894 “Yalow silk brocade with tassel patterns two piece dress with gigo sleeves: silk taffeta bow at breast; silk chiffon decoration at hem of skirt. Inv. ACI167 94-35AB36 ‘Are Nouveau valued elegant decorations with contours. Natural motifs such as low ‘ers or insects were widespread and recut Seoquemtly To the left isan allewbice dress ofa type popular at the time. With increasing evs became possible 10 use + amounts oF lee, along with embroi- dery and appliqué, co create a great many flowering plane motif ‘The dress om the righ uses a grapevine design. The hanging bunches seers answer each other and they low with the lines of the dress © Anonymous Day Dress 1995 ‘White muslin and machine lace sewn together: all-over plant-pattemed embroi- dery and appliqué: cape lke ornament covering from bust to shoulder; high neck and sleeves of pieeed lace. dw AC 099 94-72 > Paquin Day Dress Label: Paquin Paris London ©1903 Black silk chiffon and velver; lage collar of ret lace decorated with grape motif of black velver and embroidery In. ACL0092 99-14-5AB Pages 518/319 Fernand Knopf ‘Memories!Du lawn tennis, 1889 Musoés oyaus des Beaux-Art de Belgique, BrusselsAche end of the century, women's clothes Te es oe ees were heavily decorated with fills and lace. However, atthe same time, people were searching foc new ways of life for women, ee ee ogee ee a model o follow. Tailored jackets in partic- PP eee eee cencury unisex fashion, wok on an increas eee Ilastrated below isa dstnetive dress, with its greatly expanded sleeves and lack of deeo- eee eg aera one ere aco Pere Pee en ered 1895, Brown wool «wills large gigo sleeves: bodice and skre trimmed with velvet and leather; ee er eet eeeco ‘World War I quickly and completely demolished the old social systems and values that had begua co crumble at the cend of the nineteenth century. Society changed, and consequently the whole look of society changed too. The rise ofa ‘powerful middle class brought about a new lifestyle, and as women stepped out of the home to paticipate more filly in the would at large, they discarded the corset and sought mote functional clothing. Fashion designers aswell as arits ‘hough haed abour new types of apparel. While ie is important co understand the impact that dhe two World Wars had ‘on fashion, iis also true without a doubs that /auce couture functioned as the central influence leading fashion in the firs half of the cwenrieth century. Also during this period, various vital media systems were established which spread the fashions of Parisian baute couture around the world, ‘The Quest for a New Type of Clothing and The Escape from the Corset ‘World War I accelerated shifs in various aspects of sociery and cuktuee. An increasing number of highly educated and professional women, the more frequent use of automobiles, and a growing fascination developments that eked in whole new ifs, Clothing, 0, evlved 0 acute the shape of dhe new epoch For active women inthis period, day-to-day clothing gradually achieved a certain degsee of Functionality inthe form of tac lore sits. (On the other hand, prominent dress designers such as Chacles Frederick Worth, Jacques Doucet and Jeanne Paquin, sho had all started hate couture houses during the previous century, still adhered to an Art Nowseau sensibilcys aiming sports were just some of the {or ukinate eauy cough a combination of elegance and opulence. Their omate creations required lng cosets to achieve the desired effect, a artificial S-curve silhouette. Long corsets distorted che natural body and hindered mobility so much that, although women fllowed such styles in public, they understandably sought release fom sch restrictive aut inside ther own homes. The popular at-home gatments were tea gowas wi Joos silhouettes, since ey allowed ‘women to loosen their corsets underneath, I was Paul Poire who first pur forvaed @ new line of fashion that did nor requite the use of a corset. His “Confu- ius Coat,” with its straight cut and ample shape, frst appeared in 1903. Next, in 1906, he created the "Hellenic Style,” a corset-froe and high-waisted design, With few exceptions, since the time of the Renaissance western womens clothing had requited a waist-cin ing coset asthe main shaping elemer. Poiret rejected the use of corset in female gaemens, sifting the supporting point of gravity from the waist ro the shoulders. According to his autobiography, Poire’s designs arose not from a desire to release women fom the centuries-old eyranryof the corse, but from an ardent quest Fora new form of beauty: His garments, nevertheless, achieved something that even the disapproval of feminist activists and medical doctors during the late ninetcerth century had file co do: they liberated women fom the coset. Cansequent- Fashion in the twenieth ceney evolved fiom a corseted, artificial form to a more nacurl shape supported by a brassiere Poirets work was decorated in a splendidly exotic style, and employed strong, bold colors. He created harem parts, aswell asthe aptly named narrow hemmed hobble skitt and turbans ingpized bythe Orient, His designs fed ino anos tala fo foreign lands that characterized this period of the rwentieth century. Orienalis pening, popularized inthe lace nineteenth century, and the publication oF A Thousend and One Nighs in eanslaion inthe caly twensit coun fostered a yearning forthe Crier. The sensational début ofthe Belles Ruse in Parisi 1909 was applauded forts exot- ic magnificence and certainly ade to the trend. Anention rwemed increasingly to Japan, which opened is doors othe ‘West inthe late nineteenth cencuy. By tie time of the Russo-Japanese War (1904-1903), Japan’ cultura influence had bbcen dubbed “Japonism.” Both Orienralsm and Japonism made an impact on vious fields of artand literature, Poietand another fashion house, Calloe Socurs, found inspiration in exoticism andl the sensuous beauty of the Kast. They were drawn to the paterns and coors of fabrics as well asthe structure of garments such as loosely fied harem pants andthe exotic Japanese kimono. The flar shape and openness ofthe kimono, in fet, suggested one direction that the ‘new relationship between the body and ching would go. “The search for a new style in clothing was observed in other European counties aside from France. Spanish-born ‘Mariano Fortuny, inspired by Greek shapes and forms, created a classically pleated dress and named it “Delphos.” ‘The “Delphos was an innovative design combining functionality with decoration. Fine pleats gently encased che body, and ornamentation was supplied almost entirely by movement as te slightest stir changed the glow and hue ofthe textile, The Wiener Werksttte founded in 1903 by Josef Hoffmann and others also created new clothing, “The ‘Wiener Werkstite started business mainly to engage in the production of architecture, craft works, and bookbind- ing, bu it opened a fashion department in 1911 with its own elhing line, including such tems as loose-iing sick dresses. ‘Around the turn ofthe cemtary che media necessary to transmit fashion news were developed and thei realm of influence spread rapidly. Fashion magazines such as Vague (1892-, New York) and Gazete du Bon Ton (r9t2-1925, Pars) established a method of informing che world of fresh developments in fashion. Fashion pictures played a dotni- nant role in sch magazines; many new artists such as Pal ribe and Georges Lepape caused this era to be known asthe golden age of fashion illustration. Poiret was the first to use the fashion catalogue asa medium for individual designers to display their work to the world, publishing Les Robes le Paul Poiret by Pau Iribe (1908) and Les Choses de Paul Poires (9). illasteated by Georges Lepape. Because buyers and fishion journalists from many counttics subsequently began to crowd inco Paris to obtain infor. sation onthe latest fashions, the Chambre Syndicae de la Couture Parisienne was setup i 1910 to control the sche ing of collections and prevent the proliferation of unauthorized imitation merchandise, Paris was then well on the way to establishing a system to maintain its dominance a the fashion ceeer of the world “The outbreak of World War In 1914 halted much activity inthe fashion world. Women, who found themselves taking on che responsibilty of men’ tasks in society and industry during the War, needed practical clothing raher than decorative and elaborate costumes. Simple designs and shorter skins were in demand, and tailored clothing i the bil “The Functional tailored suit became an essential women’s fashion item ofthe time. In comas o the dramatic changes in women’s dothing, men’ fshion saw only minor alterations, such asa slightly looser fitting jacket and narrow hern- lines on ousers, bk created to permit greater freedom of movement. New Women Although they lost cheie jobs when men were discharge fom milcary service afer World War I, nothing could cura back the defor women who had acquired a taste forthe excitement ofthe ouside woe. Jrz became popular. A dance ‘raze forthe tango and the Charleston boomed. Everyone seemed to be racing around in high-speed automobiles, get ‘ing suntans, and sovimening. New rules were applied to a society that now included a burgeoning nowveeu riche class alongside the old-money upper dass, and an avant-garde sensibility alongrie traditional ideals of ekegance. Caught up in the dynamic energy of the time, the eyle of fashion tends grew shorter, Female looks changed significantly. Hairstyles went from fll, upsweptarrangemenns to short bobs. Hemline shot up from below the ankle wo fire with the knee. Since a youful, slender style found more favor than a macure and voli :ninous one, women accordingly dressed up lke boys. Lt Garcomne, from the eponymous novel by Vicwor Marguesice 3co (1922), was the symbolic image that women aspired to achieve. The new woman acquired 2 higher education, ad a profession, anel enjoyed romamic relationships without hesitation. She led sociery neo new customs such as driving cars, playing golf and tennis, exercising, and even smoking ‘The androgynous garcunne style, which eschewed any emphasis ofthe bosom or the wast, achieved general reeog- nition atthe Exposition Internationale des Arts Dévoratfs ec Industriels Modems held in Paris in 1925, the exhibition that gave the syle known as Art Deco is name. A short hairstyle witha close-fitting cloche hat and a loose-ficting drop- ‘waist dress with a knee-length skitt characterized the garsonme look The extreme simplicity ofthe dress was supple- ‘mented with surface decorations of spangled embroidery, a feather boa, and assorted bright accessories. Underwear con- sisted ofa brassiere, teddy, and natural flesh-tone stockings: makeup inchided red lipstick, white powder, and blush; rows were plucked incoa fine line, and the eyes were accentuated witha dark line of kobl to complete the look. ‘With the boyish bent of the perio, it was only natural that «demand for sports cloching emerged, French tenis champion Suzanne Lenglen also helped to foster the production of sports clothing by demonstrating her matchless strengu in functional tennis wear. The bathing suit, exposing more ofthe body than ever before, appeared on beaches everywhere inthe ite 1910s. Beachwear was also introduced, and the fashion of wearing pants became popu at Gabrielle (*Coca") Chanel played a decisive role in this new aspec of women’s fashion, She designed clothing for comfort, simplicity, and chic appearance with an innovative combination of jersey material and shapes borrowed from meni clothing. After her jeey dress caused 2 sensation, she designed cuigan ensembles, salorstyle “yachting, jams.” beach pajamas, andthe renowned must-have item a simple black dres. Another of Chane’sconcributions to fashion was the idea that fashionable, ostentatious costume jewelry could reprsene real wealth as surcy as jewels. The perfoxt embodiment of both the gerjonne style and the posed 2 syle for women who were ready to pursue thir own active lives. In the golden age of hance couture during the xp2os nd 19308, many rising names in fshion design such as Jean Patou, Favard Molyneux ancl Lucien Lelong actively worked slongside the older established houses of Paquin and Callot Soeurs, Female designers were especially influential, and in the 19205 Chanel and Madeleine Vionnet played the most important eoks, While Chanel’ role was thar of a media-svvy stylist, Vionnet was more a architect of fashion sendent woman, Chanel created a whole new dress ethic and pro- Her technique of cutting garments rom geometrical patered fabric wth a supetb sense of construction broughe bout genuine innovations in dressmaking. Vionne invented a wide varity of detailed desigas ike the bias eu, circular cut, cut with sash or ciangular insertion, haker neckline, and cow neckline. Inspired by the plain construction ofthe Iapanese kimono, she also created a dress constructed from a single piece of cloth, “The association between fishion and ant gained an unprecedented imimacy inthe 19208. Designers teamed! up with artists for inspi realism, Futurism and Art Deco proposed that che entice living ‘nsiconment, including clothing, should be harmonized asa single artistic manifestation. Collaboration with avane- gande artists, andthe influence of Suztalisma and Futurism in particular brought radial artistic design to loin. The decorative accesories and tesles of Ar Deco emerged ftom this rich collaboration, which included the adaptation of a numberof artiste techniques such as Oriental aequering Buc the Great Depression of 192g brought an end se much of the postwar prosperity enjoyed during the 1920s. Many of fte conurei wealthy clients lst ther assets overnight ane the streets thronged with homeless people, The mide classes who survived the worst of the period became much more intrested in sewing ae home, ian, New movements in art likeArt and Fashion ‘These diffiult economic circumstances meant chat che abstract and straight sbouete favored in the 19208 gave way to ‘more nacural form in the 1930s. The slim line of clothing remained, bur she bosom was reasserted atl the waistline ‘vas once again nipped ino a standard positon, Long dreses came back for evenngwear and haie regained a more a- dlcional feminine length with a sof curl, Buc not everything regressed. Day to day clothing continued to feauure practical dresses with short skits, and ncreasingly popular items of sports clothing, The rch spent long periods of time at resors and common people also ‘enjoyed vacation a the beach, As resale, fashion for outdoor aetviies gained in importance. Alshough the term préi- ‘porter, or “teady-to-wea,” had yet to appeat, haute costre houses had started to move in tha direction by including sweaters, pans and bathing suits for spor in thei boutiques. "isa Schiaparelli started her career as a designer of sportswear like sweaters and beach clothing, She gradually expanded her line . include wan wear and evening dress, and established herself as one ofthe most important design- cs im the 1930s, Schiaparel is known to have emmplayed grea wit ro create her unique fashions, epitomized by the Famous black woolen sweater with asrompe-'l white bow that launch her career in fashion. Schiapaell was the designer who most closely worked with artists dusing her time, She was influenced by Dadaism, and adopted ideas from Surrealism for the creation of her eccentic dresses and hats, But art for her was ot simply 2 source of inspiration; she aso integrated icdliteclyinco her designs. Original sketches by Salvador Dalfanel Jean Cocteau were primed. ac embroidered an her dees. She eagerly exploited new materials and experimented with ‘yon, vinyl, and cellophane, However, her ixsitions dil not extend to eeshaping clothing itself, and no dramatic new silhouctes figure in her work. The squate shoulder and marked waist characteris of her designs were the mainstream fashion inthe 1930s, and remained the dominank style during World War I. Dring the 1930s, such female designers as Gabrielle Chanel and Madeleine Vionnet, who had enjoyed iaternacional acclaim since the 19208, as well as Schiapareli, represented the vanguard ofthe fashion world. Bu a male designer, Cistobal Balenciags, opened his Paris salon in 1937, offering designs with a completely modern structure thac garnered much attention. American films exerted a powerful influence on feshion dsing the 19308. Famous Hollywood stars like Madlene Dieetich and Greta Garbo wore dresses made by costume designers suc as Adrian. ese cossumes looked relaive- ly conservative and simple in cut compared to heate couture fashion in Paris, bu they appeared magnificent on the sereen because of thei laxutious fabrics. The munnber of women in the general public who watched Hollywood films — with an eye out for fashion tips ~ gradually exceeded the nurnber who read fashion magazines featuring Pais Phovography, invented in the nineteenth censry, grew in importance in fashion magazines. Fashion photos appeared in magazines a the urn ofthe century and asthe quality of images improved, chey became more prevalem Photographers like Adolphe de Meyer in the 1910s and Edward Steichen in the 19208 are credited with the invention of fashion photography. In the 1930s, when color photography first appeared, che key images in fashion magazines became photographs rather chan paintings or drawings. Through che efforts of many photographers, individeal expression thyived: George Lloyningen-uene and Horst P Horst expressed modernity with sharp images: Toni Frissll pioneered curdoor photography under natura ight; Man Ray art others experimented with the various possibilities of photogra- phy techniques. BSIrish crochet lace was knitted by hand, lis said to have originated from elaborate Ilan needlepoint lace inthe seventeenth century century onwaed, Ie iginaced in convents in the of eae country. It became popu in the early part of che twentieth century, and ‘other counties began to produce tas wel, ‘This dress was knitted to fic the S-curve, and the motifs of the insects and plants wow The dies rp- syle, characteriza sar and orgatic forms. Anonymous Dress 1908 Iealian White cotton Irish crochet; thrce-dimen- sional motifs of Howersand dragons, In, ACSO80 87-3624The fra body was squeezed most tightly Pee ee es ‘nt. The body had to be forced to fit the onificial S-curve ofthe dress, which empha ene ea ea SE enn ee eae frees ee eee eee smn were nor completely Fed from the ech ae ‘orsets are supported by 2 long straight stel en ree eet! ee eee re ee coat Re eee ad cr& Corset, Chemise and Drawers Label: VELVET GRIP (on corset) ©1900 Black corse af cewton brocade with small floral pater; sel busks garters at front ers of whi ACH2} Inv. AC ACH274 82 > Corset 6.1907 Black cotton jacquard with small floral pac tern; silk lace decoration with ribbon at top: gatcers a fron. Inu. AC4679 85-26-19AB