THE 16TH CENTURY

 King henry VIII and queen Elizabeth were fashion icons.

 The renaissance movement trickled into other of Europe in the 16th century. Since Christopher
Columbus, a Spanish explorer had discovered America, Spain was proud of its achievements and this
sentiment was expressed in the way they dressed to express and depict the greatness of Spain, the
silhouettes became rigid and more artificial as the years passed.

THE SIX WIVES OF KING HENRY VIII –

 Catherine of Aragon

 Anne Boleyn

 Jane Seymour

 Anna of Cleves

 Catherine Howard

 Catherine Parr

BACKGROUND –
 The renaissance movement trickled up northern European nation as well.

 Developments in textile trade between European nations.

 First era of costume dolls and books.

 A move towards luxurious homes and draperies.

 There was stiffening and structuring of certain parts of the costume which gave the wearer a

formidable look along with stateliness and elegance. There were stiff standing ruffs to make the
wearers head and chin stand high.
 The upper garments were rigidly structured in order to enable wearer to stand erect with graceful

poise.
 For women, the fashion also grew somewhat physically restrictive. It is this change in fashion, in

Spain which started influencing other nations as well.

TEXTILES –
 Patterned velvets and silk. (Italy and France)

 Woollens. (England and Spain)

 Fine linen damasks. (Flanders)

 Embroidered tapestries. (England and France)

 Cotton – calico (India)

 Fur

 Linen

NEEDLE ARTS –
 Spanish black-work – black work was a kind of counted thread embroidery that originated in

Spain. It was done on white linen background using black silk thread. The motifs were
geometrical and floral. The stitches used were double running stitch, stroke stitch, cross – stitch
and back stitch.
 Gold work

 Silk thread embroidery

 Needle lace and bobbin lace

 Cutwork
SALIENT FEATURES OF 16TH CENTURY GARMENT CONSTRUCTION –
 Quilting and stiffening at certain positions of the garment.

 Slash and puff feature

 Pearl adornments

 Lavish ornamentations and trims

 Physically restrictive fashion for women.

FEMALE COSTUME FOR UPPER CLASS (TUDOE PERIOD) –

 Chemise/ smock

 Stays/ corsets

 Petticoats

 Farthingale

 Gown – bodice, skirt, sleeves

 Over gowns

 Ruffs and collars

FARTHINGALE – A SPANISH INVENTION –

 An underskirt into which were sewn circular hoops made of whalebone, wire or wood.

 Shaped like a cone

 Purpose to make waist appear smaller

 Gave a more formidable look to the person

 A perfect way to conceal pregnancy

 Variation to farthingale –

o Spanish farthingale/verdagule/cone farthingale/bell farthingale.

o French farthingale

o Great farthingale (drum farthingale/wheel farthingale/cartwheel farthingale)

CORSETS/STAYS –
 Origins – Italy introduced into France in the 16
th
century.
 By Catherin de medici.

 Invented cone shaped.

 Lacing at the back.

 Worn for flat chested, creaseless, long waist at the back.

 Busk – stiffened piece sewn into the central section to stiffen the corset.

 Stomacher – worn on the abdomen for flattening and decorative purpose – deep U or V shape in

front.
 Corsets made by layering fabrics, gluing and constructing.

 Boning with steel or iron.

GOWNS –
 A variety of petticoats.

 Lavish ornamentation on the front portion of the outermost petticoat.

 Voluminous sleeves with layering or false sleeves.

 Slash and puff details on sleeves.

JEWELLRY –
 Roses
  Pearls
 Drop earrings
 Long necklaces, bound around the neck twice or thrice and centremost portion of the dangling
jewellery was looped into a knot.

16TH CENTURY MANNERIST STYLE – VENETIAN CLOTHING (WOMEN)

 Gowns with high waistline with U – shaped in front.

 High choppiness (high heels)

 Light blonde hair colouring.

 Twin horns

 Foot wear – rounded, boots.

 Cosmetics and grooming – hair colouring with strange recipes. Lead paint to lighten the face.

 Eyebrow and hair plucking

CHANGES PIONEERED BY KING HENRY VIII –

 Exaggeration of the codpiece

 Padded shoulders with heavy fabric to create a bulky look

 Fancy Tudor boned with ostrich feathers and jewel decorations.

 Full stitched jerkin

BASIC MALE GARMENTS –

 Linen shirt

 Hose – codpiece

 Doublet

 Breeches - trousers

 Short gowns

 Jerkin with attached sleeves

DOUBLET –
 Was stiffened and quilted for warmth and proper posture. It had long sleeves which had a slash

and puff feature

 The sleeve was also quilted

 The doublet was close fitting and reached waist length.

JERKIN –
 Jerkin was a rigidly constructed garment with stiff panels. It hade sleeves which were called

epaulet sleeves. It had a peplum from the waist which was very rigid and stiff. This was
detachable as well.
 Over which a gown was worn.

 Made of lavish fabric and very ornate trims, this garment had rich lining as well. It was generally

worn front open.

 Sleeves were enormously puffed and large and ended in a cuff much above the elbow. It also

could’ve had false sleeves attached to the cuff of the sleeve.

HEADGEARS (MEN) –
 High brimmed hats

 Gathered hats with feathered or brooch adornments.

 Tudor bonnet.
FOOTWEAR –
 Duckbill shoes – flat shoes with tongue

 Pantofle

16TH CENTURY COSTUME (ELIZABETHAN ERA) – THE GOLDEN AGE –

CHANGES PIONEERED BY QUEEN ELIZABETH –

 Brighter colours

 Lavish embroidery

 Meaningful symbols in her outfit

 Exaggerated ruffs

3 IMP. SYMBOLS IN QUEEN ELIZABETH’S GOWNS –

 The snake/serpent symbolizes fertility while the heart at the top right hanging from the snake

symbolizes love.
 Ears and Eyes – a suggestion of wisdom and knowledge.

THE ELIZABETHAN ERA –

 Influence of geometrical shape.

 Camouflaging the natural shape of the body.

 Padding and quilting in order to stiffen fabric.

 Purpose – to draw attention to the shoulder and hip area.

 To give the impression of a small waist for both the sexes.

 Sumptuary laws.

DRESS ACCESSORIES –
 The ruffs – achieved by means of combination of starch and lace.

 Worn to give a grand poise to head, and make the women look like a flower.

 Invented in Spain.

FOUNDATION GARMENT –
 Smock – white linen undergarments.

 Visible at the bodice and sleeves.

UPPER CLASS ELIZABETHAN WOMEN COSTUMES –

 2 important developments.

 Separation of bodice and skirt into two different garments.

 Gradual discarding of gown

 Skirt – smooth cone shaped from waist to floor.

 Bodice – increasingly tight and constructing.

 Stays – made of whalebone, or something like cane, wood, metal.

GOWNS – BODICE –
 Intended to give the body a slender look.

 V-shaped panel/stomacher at front.

 Princess seam at the back.

 Slightly curved shape above the bust.

SLEEVES AND COLLARS –

  Puffing and other variations of voluminous sleeves.
 Standing ruffs.
 Soft curved version of Tudor square neckline.
 Fill in (made of Gauze).
 Attached by tie – ups or lace.

GOWNS AND SKIRTS –

 Very wide and full floor length skirts, with multiple petticoats.

 Use of bum rolls underneath.

 Outer skirt parted to display on underskirt of different fabrics.

OVER GOWNS –
 Loose unbelted robes worn outdoors over the gowns in winter.

WOMEN HEADGEARS -
 Pedi mental hat / globe headdress

 French hood

 Atifet

 Indoor cap (worn by working class)

MAKEUP –
 Ceruse – white lead face paint with vinegar.

 Cochineal – inset – natural dye carmine – to redden cheeks and lips.

 Hair dyed yellow or red with saffron, cumin seed(jeera), celandine and oil kohl to darken lashes.

OTHER ACCESSORIES –
 Long jewelled belts fastened at waist.

 Gloves

 Fans

 Purses

 Handkerchief

 Flea – furs

JEWELLERY –
 Queen wore enormous jewellery

 Pearls and roses.

WORKING WOMEN COSTUME –

 Chemise

 Stays

 Petticoats

 Kirtle

 Gown (bodice with sewn sleeves sewn to skirt)

 Aprons

MALE COSTUMES – ELIZABETHAN ERA –

 A combination of formal grace, masculine elegance and asceticism.

 Small waist, broad chest, long-leg.

MALE COSTUME –
 Stockings – canyons – tubes of white linen

 Cod-piece

 Breeches

 Ruffs

 Doublet – very deep at front

 Slash and puff detail on doublet

 Wings (epaulet) at armhole

 Doublet – stiffening by canvas inside and stuffed with padding down at the front.

OTHER MALE GARMENTS –

 Jerkin

 Mandolin

 Venetian breeches

OTHER ACCESSORY –
 Ornamental buttons

 Long neckpieces with pendant

 Garters

 Belts

 Scottish sporrans (small purse with belt)

 Handkerchiefs

LEG WEAR AND FOOTWEAR –

 Mules

 Choppiness

 Shoes with slashes

 Boots

HEADWEAR FOR MEN –

 Male hat with decoration

 High brimmed hats

 Gathered hats with feather or brooch adornments.

 THE 17TH CENTURY
(BAROQUE PERIOD OR JACOBEN ERA)

HIGHLIGHTS –
 Jacobean era in England (transition baroque 1600-1620)

 Baroque style of art (1620-1660, 1680-1710)

 European trade with India – calicos

 French regency (cardinal) Richelieu

 Reign of louis the XIV (France)

 Puritan movement.

BAROQUE ART –
 Large and massive

 Symmetrical

 ‘S’ and ‘C’ curves

 Comes from the word ‘Baroque’ French meaning oddly shaped pearl.

 Bows

 Long and curly wigs

 Cockades – ribbon arranged in circular shapes.

BAROQUE –
th
 An artistic style that developed in the 17 century.
 Pearl with irregular shape

 Features – lavish ornamentation

Free and flowing lines

Flat and curved forms
Massive and rather than delicate
 Patrons – catholic and protestant churches, aristocracy and affluent bourgeoisie.

 Early baroque – 1620-1660

 Transition – 1660-1680

 Late baroque – 1680-1710

TEXTILES AND TRIMS OF THE BAROQUE PERIOD –

 Crewel embroidery

 Crewel – a thin, loosely, stylized forests, fanciful plant and animal shapes.

 Solid satins and velvets.

 Trims and embellishments –

 Reticella – cut work/needle lace
Braid trims
Rosettes and bows
Cockades

NOTABLE COSTUME ELEMENTS OF EARLY 17TH CENTURY –

 Peplum – both men and women

 Articulated shoes – flowers on shoe

 Falling bands/ruffs

 Disappearance of Elizabethan ruffs

 Bertha – layered handkerchiefs around neck pinned in between.

 Colours – burgundy, sapphire – blue, purple, crimson, brown, and black, white, sky blue, almond

green, tan, rose and grey.

FEMALE FASHION FROM 1590 TO 1625 –

 Most elements of renaissance costume survived.

 No signs of really new designs

 Costumes retained slashing of bodice and sleeves, which were still voluminous.

 Farthingale was transformed – sort of tray worn over the hips and under the skirt which was

tightly gathered at the waist.

 The general line of drum softened by a gathered flounce.

MALE FASHION FROM 1590-1625 –

 Pear shaped silhouette

 Doublet with rounded or slightly pointed waists – trimmed with epaulettes and wings at the

shoulders with short or long slashing and standing collars.

 Ruffs – round in the preceding period, or soft and falling.

 Collet Monte – a stiff collar supported by a frame could be worn.

 Chausse en bourse (slops) – breeches

 Leg-of-mutton breeches or venetians – long breeches.

FASHION FROM 1625-1630 – 1645-1650 –

 Progressively simplified

 Decrease in width

 Disappearance of superfluous ornaments

 Hairstyle became more restrained

FEAMLE FASHION FROM 1625-1630 – 1645-1650 –

 More restrained than men

 Completely new silhouette – broad shoulders and high waist

 Bas de jupe – skirt

 Corps de jupe – boned bodice characterized by stiff plastron (ornamental front) whose point

overlapped the skirt

 Sleeves – slashed and bouffant – supported by cushions stuffed with rushes.

 Black robe – slit half-sleeve knotted at the elbow – worn over the bodice and skirt.

FEMALE FASHION FROM 1623-1630 – 1645-1650 –

 3 underskirts – la modest, la friponne and la secrete (modest, frivolous, secret)
  Hongreline – frock styled over coat shorter than men – a sort of unbutton basqued bodice
 Chemise
 Drawers fitted with pockets and timed with passementerie to which the stockings were attached
 Laisse-tout-faire – long apron

MALE FASHION FROM 1625-1630 – 1645-1650 –

 Doublet – plain or having long slashing and basques known as tassettes.

 Buttoned only at the top and opened down the front to show the shirt jabot

 Jabot – fine linen or lace

 Sleeves – slashed or slit lengthwise to show the shirt sleeves – tightly fastened at the waist

 Breeches – less full but longer, stopped above knees, either fastening closely to the leg or

hanging freely as pantaloons.

 Manteau – cape – sometimes worn on both shoulder

 Hongreline – over coat lined with fur, spraed through military and civilian costume.

 Casaque – short and flowing garment – open cape sleeves close with buttons

 Rochet/roquet – short mantle with short hanging sleeves and no collar – ceremonial garment.

 Silk stockings of all colours.

FEMALE FASHION FROM 1645-1675 –

 Gown with oval neckline.

 Broad collar of guipure lace, placed at the neckline of the gown instead of round neck.

 Skirts and bodice front covered with passementerie and embroidery

 Galans – ribbons bow

 Manteau – over gown – held up on either side in front by large bows of ribbon and was finished

behind by train – length indicated the rank of wearer.

 Boned bodice – short, full sleeves showed the chemise sleeves finished with lace flounces.

MALE FASHION FROM 1645-1675 –

 Rhinegraves or petticoat breeches – short trousers, extremely wide – presented appearance of

skirt.
 Trimmings of lace or ribbons loops gave bulk to the silhouette.

 Bas de saie – resembled a short skirt – ceremonial garment.

 Doublet – open in front – short sleeves and short length

 Costume loaded with small bows of ribbons.

 Justaucorps – over coat – short sleeves – long and slightly flared at the bottom.

Female fashion from 1675-1705 –

 Pretintailles – motifs cut out of different coloured materials and appliqued to the fronts of gown

– exclusively French fashion.

 Over gown – caught higher loaded with deep flounces or falbalas.

 New changes in gowns – fitted at back

Covered the shoulder

Oval neckline and short sleeves

MALE FASHION FROM 1675-1705 –

 Disappearance of petticoat breeches

 Tight suit and plain stockings

 Gone were the light colours, masses of ribbons, plumes and points
  Changes in justaucorps – long, severe, buttoned – turned wing cuff sleeve – front pockets
 Tight breeches and dark stockings
 Chaconne – cravat replaced by simple neck ribbon

MALE HEAD DRESSES –

 Men – hat with high round crown pinched in at one side.

 Musketeer hats – soft, low-crowned, broad-brimmed

 Hats trimmed with long standing or flat ostrich plumes

 Bourdalou – simple styles – crowned edge with twisted braid

 Boukinkan – France – two visored cap – worn mainly by soliders

 Bicorne/tricorne hat – replaced other hats because of wigs being worn at the end of the 17
th

century
 High and long wigs – initiated when the king lost all his hair as the result of an illness.

 Bicorne/tricorne hat – grey-white-black

Was a hat with a brim that was turned up at three corners. Earlier worn by people
who travelled as workers on ship who had to work even when it was raining. The
turned up brim enabled the rain water to get collected after which it could be
emptied out. Later the wealthy started wearing it and adorning it with rich trims.
This hat could also be easily folded and carried under one’s arm.
 Wig – short form of periwig. Generally made of animal hair, dyed from the middle of the 17
th

century. Wigs were a must for men when they went outdoors. For the most formal occasions,
wigs were powdered-white or grey colour. Wigs at this time had a centre parting and were
slightly raised in front and were voluminous and became very long hair in 1680.

FEMALE HAIRSTYLE –
 At the beginning of the century – tiny chaperon or silk coif\

 Widows – chaperon with a point in centre of the forehead

 Hurluberlu/hurlupee – a simple mass of hair – it gives you ahead like a cabbage

 Towards 1678 – fontage hairstyle appeared – originally simple bow lifting the curled hair at top

of the head – invented by mistress of king louis XIV.

 Fontage was transformed into a complex scaffolding of locks completed with a cap that crowned

the head in a veritable architecture of muslin, lace and ribbons mounted on brass wire.

PARTLET –
 A partlet is also known as a neck filler or chemise filler or tucker or modesty vest

 It was a section of fabric made of white linen and constructed with details like pin tucks, pleat

tucks, embroidery in order to look like the continuation of a chemise.

 When gowns had very low necklines and were worn in the daytime, partlet was tucked into the

front and attached under the neckline edge of the bodice.

NECKWEAR –
 Carcan – a semi-circular standing collar mounted on a metal frame.

 Petit collet/partlet – falling flat collar – decorated with laces – following the neckline by means

of graded tucks.
 Cravat – simply knotted and hanging loosely – menswear

THE STEINKIRK CRAVAT –

  A cravat named after the battle of stein Kirk. As the soldiers were getting ready to tie their
cravats, they were informed that there was no time, and they had to rush into battle. Hence they
hurriedly tied a knot around their neck and pushed the ends into the buttonhole. When this battle
was won by them and they came home victoriously, this cravat become a fashion for a while.

FOOTWEAR –
 Introduction of first seamless boot

 Chopines – venetian – rounded toes – ribbon or gauze roses.

 Ladrine – soft, short and lighter leather boot

 Heels became higher towards 1652 – heels covered in red leather

 Buckles replaced bows at the insteps

 Some shoes were decorated with silk embroidered velvet

 Women shoes had higher heels that men’s

PURITAN –
 Members of a religious reform movement known as puritanism

 Beliefs – church of England to same as roman catholic church

 Motto – should eliminate ceremonies and practices not rooted in the bible.

PURITAN: FEMALE COSTUME –

 Conservative and modest

 Covered head

 Usage of black, white and dark colours

 Black worn on Sundays only

 Lack of adornments.

 English speaking protestants.

 Simplicity in life.
 THE 18TH CENTURY
(ROCOCO PERIOD)

 Popularity of Versailles coat and dominance of French fashion.

 Emergence of fop and macaroni.
 Rococo
 Neo – classical fashion and French revolution
 Industrial revolution

FOP –
 A fop was gentlemen with an over obsession with his appearance and dressing. He took
immense pains to appear most stylish and sophistic

MACARONI –
 A macaroni was an English gentleman who had travelled to Italy and imbibed a strong taste for

Italian habits and fashion

 Such men over indulged in attiring themselves with the latest Italian cuts and embellishments as

well as wigs and make up. At times this would be so exaggerated that it would look ridiculous to
observers but such men formed a ‘macaroni club’ and would play cards or discuss fashion
together.

ROCOCO –
 The severe rigid lines of baroque art with its massive and large form and emphasis on S and Z

curves; further broke down into a more fragile and delicate scale with emphasis on intricacy,
lavishness, asymmetry and a more welcoming and joyful yet regal feel.
  Rococo comes from the words ‘Rocaille’ and ‘coquille’ meaning rock and shell. And hence
carried the colours, textures and feel and relaxation of the same. This art form was a portrayal of
carefree pampered aristocracy of France who never would abandon their love for all the things
lavish and sumptuous.

FABRIC AND COLORS OF 18TH CENTURY –

 Woven wool

 Plush

 Velvet

 Silk

 Satin

 Fur

 Braid

 Leather

 Lighter colours that baroque

TOILE DE JOUY (FABRIC) –

 Printed cotton

 Cloth from jouy-en-josas. Town of north central France

 Origin – Ireland

 A decorative muslin textile with a complex print on the off white background

 Designs used on ceramics as well as wallpapers, in addition to clothing.

FEMALE CLOTHING –
 Looser, with more flowing lines.

 Introduction of the sacque/sack dress

 Closed and open gowns

 Silhouettes aiming at width

 Reintroduction of hoops (after 1710)

 Chemise, stays, and petticoats, pockets.

PANNIERS –
 Also known as hoops

 Origin – from 1715 onwards

 Calf length underskirt

 Pannier – a basket structure resembling a basket, to increase the width of the skirt

 Materials – whalebone, osier rods.

 Worn under gowns to extend the width at the hip, sometime as much as 15 feet

 Went out of fashion in 1780s.

THE SACQUE GOWN –

 First casual, then evolved into formal gown

 Engagements – white lace or linen ruffles attached to the ends of the sleeves.

 Worn over panniers or hoops petticoat

 Elbow length sleeves.

 A comfortable shapeless garments with small box pleats behind starting from the back neckline,

when they were double or triple. Known as sack back dress.

THE ROBE A LA FRANCAISE –
 Formal French gown.

 Went out if fashion in 1780s.

 Also known Watteau gown.

 Bodice – fitted in front, sometimes open in front to revel trimmed stomacher.

 The over gown opens over an underskirt of the same material with trimmings.

 The chemise flounces visible from the décolletage of the gown.

COURT COSTUMES –
 Also known as robe-de-cour.

 Stiff bodice with horizontal epaulettes, leaving the shoulder bare.

 Skirt with a train which could be picked or carried.

 Petites bonshommes – 2 symmetrical pleats covering the lace sleeves on the upper arms.

 Extravagant widths of panniers in 1728.

ENGLISH STYLE GOWNS –

 Gown a I’ anglaise – more practical consideration.

 Soft bodices with side seam that covered inwards to follow the lines of the waist.

 Sleeves and collars trimmed with gauze. Small flower trimmed hats.

GOWN A LA POLONAISE –
 Gown worn in Poland.

 Close fitting upper body, ending in “V” at front.

 Worn with smaller hoops.

 Less formal.

 Outer skirt pinned up, or looped up with ribbons or allowed to hang over inner skirt.

 Large ruffles at edging.

 Length a little higher than ankles.

 Hem usually embellished with box pleating or ruffles.

 Lace edging at neck.

 Robe meet at neckline centre then slopes away into V-shape.

 Ankle length petticoat.

 Sleeve extended just past the elbow with ‘sabot’ cuff.

 Centre back seam.

 2 side back pleats.

 Skirt looped up via cords.

 Inverted pleats at waistline.

BODICES –
 Had gap in front filled by stomacher – liked skirt.

 Stomacher enhanced with bows in the front called echelias.

 Bodices – laced at back.

 Sleeves – just above or below elbow, with engagements.

 Ruffles at décolletage.

SIMPLE GOWN –
 En chemise or a la creole – simple and soft shapes.
  Worn by Marie-Antoinette.
 False gown without a trail worn with straw hat.
 Chemise shaped with sashes.
 Worn under caraco also known as pet on lair.

PET-EN-LAIR –
 Also called Brunswick dress

 A short jip length dress with a gathered skirt.

 Riding costume or travelling attire.

ROSE BERTIN: 1ST DRESS DESIGNER –

 The first acclaimed dress maker.

 Rose Bertin was appointed as court minister in the time of Marie Antoinette.

 Creations for Marie Antoinette.

 Other creations – ‘plume of laki’

Ship coiffure (hairstyle)

Court dress with train
Bordered robe

OUTER WEAR –
 Juste – tight fitting jacket with a full Basque at the back inspired by men’s fashion including

collars, buttoned or cutaway front.

 Levite – a casual gown with front closure and left open the rest of the way.

OTHER GARMENTS –
 Apron – a functional garment for the working class but also a luxury object, made of

embroidered silk for elegant women.

 Mantilla – replacement of scarf.

 Chemise

 Drawers

 Petticoats – made of fine linen

 Fichu – menteur – fine line fichu.

JUSTAUCORPS –
 Became simpler

 Fan of flat pleats was sewn to the hip seam to imitate a panier supported by panels of horsehair

 The front edges were straight with buttons and button holes.

 Sleeves were finished with deep, broad facing.

 Pockets had straight or cut revers.

JACKET/WAIST COAT –
 Back made with ordinary material, with very rich stuff for the front and sleeve ends.

 Generally fastened only at the waist to show the jabot and lace of the shirt.

 Gilet or waistcoat – by the end of the reign of louis XV this under jacket barely reached beyond

the waist and lost its sleeve.

BREECHES –
 Also known as culottes a la bravaroise.
  Fitted over hips.
 Closed below the knee with 3 or 4 buttons or a buckled garter.
 Braces – used to hold the breeches which were originally two ribbons passing over the shoulder
– crossed over the back at the end of century.

GREATCOAT OR REDINGOTE –
 The full broadcloth garment was fairly long with buttoned cuffs and two collars, the lower of

which, covered the shoulders.

SURTOUT –
 Relaxed from of garment.

 A sort of country justaucorps with flat collar and buttons only to pocket level.

FRACQUE OR FROCK COAT –

 Imitation of English fashion – less than French habit.

 Plain and without pockets with a flat collar.

 Two watches hang at the belt of the dandles who also carry large muffs.

 Worn along with a Swiss hat.

COAT FOR BAD WEATHER –

 Roque Laure - bell shaped and covered the shoulder.

 Balandran – for rainy weather – similar to Roque Laure – with two slits for the arms.

 Volant – a short of pocket less justaucorps crossed at the back without button or buttonholes on
the sleeves and with one-buttoned collar.

INDOOR WEAR –
 Banyan/dressing gown/morning gown – garment influenced by Persian – Asian clothing
Could be short with shawl collar.

NECKWEAR –
 Cravat went out of fashion.

 Cremona – neckpiece of three-folds pf plain muslin filled in the shirt neck, with the jabot, finely

pleated or lace-trimmed, showing through jacket opening.

 Solitaire – the black bow – broad ribbon tied around the throat.

COSTUME AFTER FRENCH REVOLUTION –

CHEMISE A LA REINE (GAULLE) –

 An adaptation of peasant style worn by queen Antoinette.

 A gown in thin layers of white muslin, with gathers at waist. Worn without panniers.
 Worn by all of her female visitors.

 Designed by the queen itself.

 This was worn along with straw hats inspired from the headgear of peasant women. It was made

more stylish and chic with edition of ribbon band and a couple of feathers.
 With the attire, the amount of make-up was also reduced.

THE INCROYABLES AND THE MERVEILLEUSES –

 The incroyables – the unbelievable – men.
  The merveilleuses – the marvellous once – women.
 Arouse during French revolution – part of rebellious youth movement – political young people.
 Used fashion as form of protest.
 Made their political statement by dressing in outlandish fashions that exaggerated and mocked -
the luxurious styles worn in court.

INDUSTRIAL REVOLUTION –
 A movement where power – driven machines began to perform much of the work that people

had done before.

 Result – changes in manufacturing (industry) and consequently, changes in people’s lifestyle.

AFTER INDUSTRIAL REVOLUTION –

MALE COSTUME 1789-1792 – THE MONARCHY –

 The tight, buttoned, Long-Basque, high-collared coat and the frock coat in looser cut over the

stomach.
 Tight breeched worn without braces.

 Waistcoat – cut square across and embroidered.

 Redingote – long and narrow worn over the coat.

 High collar in contrasting colour with the coat.

 Plain or striped stockings.

 Shoes adorned with ribbon rosettes

 En bateau – high crowned hats.

FEMALE COSTUME 1789-1792 – THE MONARCHY –

 Paniers were rejected.

 National colours worn in cockades or large ribbon bow n their hats.

 Gowns – a l’anglaise worn with small pad.

 Half-redingote worn over very loose waisted gown.

 No more powder but low ingénue hairstyles, flat heeled shoes and full fichu crossed on the chest.

 Colinettes – caps of fine pleated lawn with edges falling over the nape of the neck.

 Hats with tall, narrow crowns were trimmed with cockades of feathers.

MALE COSTUME 1792-1795 – THE REPUBLIC –

 Sans-culotte – worn by poor – wide trouser with front flap, of course wool, with compulsory

accessory, braces.
 Culottes knee length breeches worn by the rich.

 A short jacket known as a carmagnole, a red cap and sabots.

 Vests – got shorter, just below waist, with collars and lapels.

FEMALE COSTUME 1792-1795 – THE REPUBLIC –

 Chemise a la reine (Gaulle) – chemise gown – cut lower than the ones worn before and without

lacing.
 Kerchief – worn as belt just below the breast – fastened behind with a bow between the

shoulders.
 Puffed out bodice, giving a pouter pigeon effect.

 Neckerchief to fill the gap of neckline.

 Straw hats inspired by peasant’s hats.

MALE COSTUME 1795-1799 – THE DIRECTOIRE PERIOD –
 Lighter and more definite shape.

 Redingote had deep lapels and two rows of buttons.

 Cravats were high and waist tight with lapels.

 Trouser became tight.

 Hair was cut short or worn long

 Boots were very soft with turned down tops.

 Bicornes or hats en bateau were worn.

FEMALE COSTUME 1795-1799 – THE DICECTOIRE PERIOD –

 Long gowns of lawn or muslin gathered and decollate, with shawl or spencer.

 Girdle – a la victim – a narrow ribbon tied at the back marked the waist under the armpits.

 A la romaine – draped over the shoulder

 Apron – sort of double skirt open behind

 Wigs – a la greoque – made of all colours.

 Casques – helmets – worn over wigs with round crowns and long visors, trimmed with a falling

plume.
 Ridicule/reticule/Ballantine – a small bag carried by coquettes.

LES MERVEILLEUSES –
 Pioneers – Theresa Talien and rose de Beauharnais.

 Higher waistline after 1795.

 Grecian hairstyle with ribbon.

 Hair cut shorter at the back to imitate the victims of the guideline (machine used for beheading)

 Sophisticated dishevelled look for hair.

 Red shawl with Greek motif’s worn around neck.

 Worn after the execution of Emilie de Saint Amaranthe, a famous beauty to honour her boldness.

 A red ribbon choker or a red ruby neckpiece to mimic the blood droplets on the neck of the

victims.
 Lots of powder on face and bosom to look like a living corpse.

 Grecian style sandals, painted toe nails.

 Gold/silver toe rings.

 Heavy migraine including scents.

 Diaphanous (light, delicate and translucent) and thin muslin and gauze dresses in white

mimicking the clothes of Marie Antoinette that she wore to her execution.
 Croix a la victim. A red silk harness worn like a thin shawl around the bodice, forming a red

cross at the back.

 Beginning of neo – classical fashion.

LES INCROYABLES –
 Incroyables – the nouveaux rich who had gained wealth by selling arms and money lending.

 A fashion subculture that began in 1794 after the execution of Robespierre.

 Long trousers tucked into high boots.

 Shoulder length disorderly hair to imitate the guillotined victims.

 Tail coats, especially in green.

 Huge necklines.

 Hats with dog – ear styles.

  Bludgeons – a thick stick with heavy end
 Musk based fragrances.
 Suspenders.
 Oversized lapels.
 High neck cloths.

THE 19TH CENTURY

(NEO-CLASSICAL FASHION: THE NEPOLEONIC EMPIRE)
1800-1820

THE EMPIRE DRESS –

 Style icon – Josephine de Beauharnais.

 Worn with paisley shawl.

 An extremely high waist floor length gown

 With fitted deep necked short bodice

 Long and loose gathered skirt attached to the bodice that fell close to the body

 Small concentration of gathered fabric at the centre back waist

  Ruffs at the back of neck and sleeves
 Elements adapted from the chitons of Greece and tunica of Rome.

THE PAISLEY SHAWL –

 Made in France during the Napoleonic period to discourage English and Indian imports.

 Wearing a shawl – mark of an elegant lady.

 Inspired by towns of Kashmir and named after the town of paisley in Britain.

 Floral embroidery or weaved pattern.

 Highly prized.

CORSET –
 Reappeared in 1804 – lightened and shortened without any resemblance to the old corps.

 Initially it was sort of small, elastic, linen bodice which covered the bust, from the shoulder to

high waist.
 After 1806, it was boned and fitted with busk.

 In 1808 some were designed to flatten the stomachs and hips.

 Sometimes seem in the opening of low-cut gowns

FEMALE COSTUME 1799–1815: CONSULATE AND EMPIRE –

 The spencer jacket – waist length short jacket with or without lapel – generally in dark colours

contrasting with white gowns.

 Starched collerettes around neck: a la Gabrielle – very high almost hiding the head or a la Cyrus

– flat and fixed to the neckline

 Canezou – a sort of guimp or short bodice or even a tippet with long ends that were always

caught in the belt.

 A la mameluck or a la juive – tunics.

 Apron gowns

 Mathilda – an embroidered band reaching from the centre of the neckline to the foot of the

gown.

MALE COSTUME 1799 – 1815: CONSULATE AND EMPIRE –

 Carrick – a full coat reaching to the ankles with tiered cape collars – worn by young men for

driving the light open carriages.

 Stove pipe hat with wide brims.

 Coat – open or closed – full above the waist with loose Basque – worn with breeches or trousers

worn inside half-boots.

 Cravat – revived – large square folded diagonally then rolled round the neck, tied only with

small knot without rosettes.

THE DANDY –
 A la Brutus hairstyle

 Impeccably dressed gentlemen with clean habits redefines language, and leisurely habits.

 Trait of beau Brummel

 Cleaning teeth thoroughly

 Bathing ever day

 Starched clean shirt

 Well fitted garments without crinkles.

 Brought in the concept of a three-piece suit - included full length trousers.

  Polishing shoes with champagne.
 Wore corset

TRENDS BROUGHT ABOUT BY DANDYISM –

 Snug fitting – main essence of dandyism.

 Simplicity with refinement e.g. no embroidery on the coat but good fabric.

 Elaboration of neckwear

 Collar of shirt worn upright with the 2 points projection onto the cheeks and kept in place by a

neck. Cloth/stock/cravat.
 Full length trousers instead of knee length breeches.

THE ROMANTIC ERA AND THE VICTORIAN ERA (1825-1901) –

 1925-1950

 Named after romantic art movement

 Art, literature and music focused on the emotions and feelings rather nationality of neo

classicism
 Artists – William Blake, J.W.M turner and casper david friedrich and writers such as lord byrom,

john keafs and sir walfer scoff.

5 I’s OF ROMANTICISM –
 Idealism

 Intuition

 Imagination

 Inspiration

 Individuality

 Began in the 1790s and ends in the 1820s

 Mainly centred in northern Europe, especially in Britain and Germany.

ROMANTIC FASHION –
 Head gear like a monument

 Re appearance of corsets

 Stalk thin waist

 Drop shoulder sleeves

 Emphasis on shoulder and sleeves

 Fullness of skirts over many petticoats.

 Skirt length did not obscure shoes.

 Ruffles, quilting and other decoration on the hemline.

SLEEVES –
 Prigot sleeves (leg-o-mutton)

 Demi gigot sleeves

 Imbecile sleeves

 Beret sleeves

UNDERGARMENTS –
 Single/chemise

 Bum rolls

 Corsets
  Drawers and combination
 Quilted/ bonnet petticoats

REASON FOR WEARING CORSETS –

 The tightness of the garment at the waist

 To achieve the look of a trim waist and to prevent the waistline from expanding.

 To symbolize the elite class.

 A metaphor for the morals and the values upheld by the elite class women.

PELERINE / FISCHU –
 Pelerine – wide flat collar that covered the neck and shoulder

 Fischu pelerine – pelerine provided with hanging ends

 Daytime dress accessories

CHANGES AFTER 1830 –

 Pockets stitched inside skirts

 Fullness in sleeves reduced

 Puffed overskirts over the skirt.

 Skirts tightened and increased in volume.

VICTORIAN ERA –
 Era between 1837 and 1901.

 An important era for the world and British history.

 Progress – railways

Gramophones
Telephone
Industrialization
Sewing machine
Factory produced clothes.

QUEEN VICTORIA –
 Daughter of Edward, duke of Kent and princess Victoria of Saxe – Cobourg.

 Born in Kensington palace, London – 1819

 Secluded childhood

 Rebellion against her mother

 Coronation in 1837

 Marriage to prince albert of Saxe – Cobourg Gotha – 1840

 Death of prince albert in 1861

 Victoria’s self-imposed seclusions for 10 years

 Coronation as empress of India – 1876

 Death 1901

VICTORIAN NOTION ABOUT A WOMAN’S BODY –

 Body – representation of temple

 Indecent to reveal even ankles.

 Banishment of impure thoughts

 Aborting of make-up
REASON FOR WEARING UNDER CLOTH –
 To shield from body secretions.

 Foundation of garments

 To achieve the ideal body shape

 Distraction of impure thoughts.

DRESSING IN THE VICTORIAN ERA –

 Emphasis on a woman’s separation from world of work

 Non – exposure of lower body or undergarments

 No cosmetics

 Wasp – waist for well-bred ladies

GROOMING IN VICTORIAN ERA –

 Bath once a week

 Hair wash once or twice a month

 Almond milk for washing neck and hands

 Powder, cologne, perfume.

VICTORIAN WOMEN IN THE 1840S –

 Daytime dresses covered the whole body.

 Tightly laced corsets.

 Tight sleeves

 Long narrow waists

 Drooping shoulders

 Full and heavy skirts

 Narrow bonnets were tied under the chin

 Flat shoes

 Dark green and browns

EVENING DRESSES IN 1840S –

 Shoulder were revealed only on evening dresses

 Smelling sets – an accessory

 Modest jeweller

CANEZOU –
 A kind of short jacket worn over main garments.

HAIRSTYLES –
 Apollo knot decorated with flowers, feathers or combs.

 Coronal parting with curls arranged on either side of the face.

ACCESSORIES –
 Muffs

 Fans

 Sash/ belts

 Handkerchief

 Paromoda
MALE FASHION IN 1830S –
 Padded chests and shoulder

 Tight stays

 Elaborate high cravats

 White underskirts

 Corseting and padding required for the right shape

 Coats nipped in at the waist

 Tight fitting trousers / pantaloons

 Stirrups at trouser hems.

 Cravats

 Tail coats

 Neckties

 Fitted waistcoat

 Frock coats

THE CRINOLINE ERA (1850-1869) –

ITEMS OF UNDERCLOTH IN EARLY 1850S –

 Long drawers

 Chemise / camisole

 Corset

 Flannel petticoat

 Under petticoat

 Stiffened petticoat

 Starched petticoat

 Two muslin petticoats

CONCERNS OF WOMEN’S CLOTHING –

 Too many layers on the body

 Added to the weight of clothes

 Inhibited movement.

CRINOLINE –
 Inventor – R.C. Milliet of Besancon

 Horsehair crinoline

 Cage crinoline 1856

 Known as hooped petticoats

 Made in flexible steel hoops, sewn into a petticoat or hung by tapes from waist.

 Rumours that Charles Frederic worth had designed it to hide empress Eugene’s pregnancy

 Provided relief from many entangled petticoats

 To make the waist look thinner

 Symbolism of female fertility and maturity due to width at hips.

 To hide pregnancies

 Symbol of supposed unapproachable abilities by bloomer ladies

DISADVANTAGES –
 Swayed a lot

 Difficulty in sitting
  Difficulty in travelling
 Potential impropriety
 Occupied to much space
 Clumsiness outdoors
 Flammable

FASHION DURING CRINOLINE –

 Tight waist corsets

 Fitted bodice

 Voluminous skirts supported by crinoline

 Bertha – collar – a flat band of lace

 Daytime dresses

 Adelaide boot due to the swaying character of crinoline

 Rigid bodices

CHANGES IN 1860S –
 Crinoline’s volume gradually started decreasing in the front and side, only remained at the back

 Known as crinolette.

GARIBALDI BLOUSE (1860) –

 Also called ‘garibaldi jacket’ or ‘Camicia Rossa’

 Inspired by general Giuseppe garibaldi

 Originally a red wool shirt worn by garibaldi and army, later on known as a symbol of

unification of Italy.
 First worn by empress Eugene in red cashmere wool

 Led to its popularity in women’s fashion

 Ancestor of the 1 women’s blouse

st

THE BUSTLE PERIOD –

 Back fullness – the main feature of this period

 The bustle was the device that replaced the crinoline or crinolette

 It was a metal frame which was tied at the back behind the waist area in order to draw more

attention to the bottom portion

 Created when the crinolette began to disappear, at the side and front, leaving only volume at the

back.

BUSTLE PERIOD (1869-1890) –

 1870-1878 – fully busty created by manipulation of drapery at the back of the skirt

 1878-1883 – fullness dropped to below the hip so the frame was semi-circular

 1884-1890 – large shelf like bustles

EVENING DRESS –
 Brighter colours due to anile dyes. More perfection in sewing due to popularity of sewing

machine.

BICYCLE COSTUME –
 At first, skirts that could be gathered round ankle and then unwound after ride

 Then bloomer’s like attire

THE DOLLY VARDEN DRESS –
 A fictional character

 Emerged due to the popularity of dickens Barnaby rudge

 Made of brightly patterned chintz or cretonne

 Had features of rococo styles

 Worn with a picture hat tilted forward over the forehead

THE BLOOMER COSTUMES –

 Invented by Elizabeth smith miller

 Promoted by Mrs. Amelia bloomer

 A simplified version of the bodice

 A fairly ample skirt that reached below the knee

 Baggy Turkish trousers that reached the ankle, with a lace frill at the bottom.

REACTION TO BLOOMERS –
 Regarded as feminist in a male dominated world

 Rejected by elite class ladies

 Supported by doctors and hygienist

 Only worn by some advanced ladies.

VICTORIAN MEN IN THE 1840s –

 Bright colours and stripes were replaced by dark blues; browns and blacks
 Gave up wearing high cravats.

 Wore stocks or ties with simple bows

 Frock coats

 Top hats of felt and silk

 Walking stick topped with gold.

MALE COSTUMES AFTER 1860S –

 White shirts with standing turnover collar.

 Necklines

 Waistcoats – vests with lapels – notched collar.

 Single breasted fitted frock coat.

AESTHETIC DRESS MOVEMENT: FEMALE –

 Looser version of fashion

 No corsets and bustles

 Rejection of lacing

 Heelless shoes

 Simple hairstyles

 Natural fabrics and dyes

 Stress on requirements and sensuous appeal of clothes

 Objected to use of feathers, dead birds as trims.

 A reaction against frivolous fashion and un-healthiness induced by corsets and unnecessary

layers of boning and padding.

AESTHETIC DRESS MOVEMENT: MALE –

  Knee breeches
 Velvet jacket
 Flowing tie
 Longer hair

FEATURES OF GAY NINETIES –

 Hourglass silhouette with wasp waist

 Emphasis on shoulder and sleeves

 Large sleeves in daytime

 Simplification of trimming on skirt

FEMALE FASHION IN THE GAY NINETIES –

 A period of changing values

 Disappearance of dramatic protruding bustle

 Skirts were bell shaped gored to fit smoothly over the hips

 Bodice were marked by the large leg-o-mutton sleeves

 Sleeves grew in size by 1895

 The width at the top and bottom of the silhouette was balanced by a nipped waist to create an

hourglass effect.
 1897 – silhouette began to shift with straight front

 The new corset forced a women’s chest forward and hips backward into a curvilinear ‘S’ shape –

a dominant silhouette by 1900

 Delineation of morning, afternoon and evening wear held throughout the decade.

 Morning wear – high neckline and long sleeve

 Afternoon wear – opened at the neckline and shortened sleeves

 Evening wear – bared the chest and arms

 Simplified silhouette was present throughout the day.

TAILOR MADE COSTUMES –

 Significant influence on menswear

 Creator – Jacques Doucette

 Standard day wear for spot activities and most often worn by the new female workforce

 Simple skirt and a shirtwaist or blouse – tailored similar to men’s shirt

 Featured tucks, frills and lace trimmings

 Completed with a jacket and straw boater hats

BICYCLE SUIT IN THE GAY NINETIES –

 1890’s – phenomenon of bicycling

 1892 – several improvements to bicycle – common form of transportation

 Heady craze among the women – allowed women a new level of freedom

 Bicycle suit – allow easier cycling

 Consisted of a jacket and bifurcated bloomers

 Shortened simple skirt was worn over the bloomer

 Women also wore a skirt with a deep pleat in the back which allowed her to sit on the bicycle.

FASHION ICON: THE GIBSON GIRL –

 The women in Charles dana Gibson – feminine ideal throughout the 1890s

 It became an arch type of American upper-middle class womanhood, a fashionable ideal

  She was flawlessly beautiful with a voluminous hairstyle framing her face.
 Slender with nipped waist, but still attractively voluptuous

FEATURES OF THE GIBSON GIRL –

 Representation of the new women - a beauty with brain and athletic interest

 Charming, well dressed, appropriate, well spoken

 Hair piled into a chignon or tucked under the plum hat

 Wore a starched blouse and long flowing skirt in the daytime

MALE FASHION IN THE GAY NINETIES –

 Trousers became slightly more relaxed in cut

 Frock coat remained fashionable for formal daywear until the morning coat slowly supplanted

 Morning coat – featuring waistline seam and cutting away in the front, with contrasting dark

trousers and a top hat – or more casual as a three-piece tweed suit worn by businessman.
 The lounge or sack suit – single breasted jacket without a waist seam – common for working

men – worn by upper-class men – alternative

 Evening – white tie and tailcoat worn with heavily starched and sometimes pleated with white

dress shirts
 Tuxedo or dinner jacket – a dress version of sack suit worn with black tie – acceptable in a

gentlemen’s club.
 Shirts – heavily started with stiff stand collar of 3 inches

 Collar – turned down wingtips were increasingly worn

 Shirt and waistcoats of playful colours as jackets were frequently left open

SPORTS WEAR IN THE GAY NINETIES –

 Light coloured, often striped flannel, lounge suits paired with straw boater hats – seaside wear,

yachting and tennis

 Reefer jacket – square and double breasted – could be worn without waistcoat for sporting

 For shooting – a tweed Norfolk jacket, with its forgiving vertical pleats and characteristic belt,

loose knee breeches and gathers.

 Bicycling – variety of choice – Norfolk suits, lounge suits and reefer jackets

DICOVERY OF DENIMS –
 Patented in 1873 by the inventors Jacob Davis a tailor and Levi Strauss owner of a wholesale

fabric house in San Francisco.

 An indigo dyed twill fabric pants with pockets and sturdy riveting suitable for work wear
 The copper rivets reinforced to pockets so that they don’t rip
 Made for miners

 Fabric known as serge de Nimes – bleu de Nimes

CHARLES FADRIC WORTH –

 Worth was born in 1826 in Lincolnshire, in the east of England

 His father was a lawyer who had lost most of his money gambling, so young Charles was forced

to go to work he was only 11.

 He worked for many years at the department stores, then at a company that sold fabrics.

 Through his sales experience he learned what women wanted and needed in clothing and fashion

 He wished to became a dress designer so at the age of 20 he took a job with a fabric firm in

Paris, where he could study designing while he worked.

  In 1845 he opened a small dressmaking department for the firm he was working – his first
position as a professional dressmaker
 He contributed to the reputation of firm with prize winning designs displayed in the great
exhibition on London in 1851
 In 1858 he opened his own firm with a business partner

CREDITS –
 Charles Fredrick worth (1825-1895) was a founder of a fashion house usual credited with

establishing the required level of fashion creativity: haute couture

 Credited with developing the bustle. He opened the house of worth in 1856 and soon caught the

attention on Eugenie, the empress of France and the wife of Napoleon III, who eventually
appointed him as the royal dressmaker in 1860.
 The empress was one of the last royals to have a large influence on current fashions. She was a

fan of crinoline, a contraption that worth would eventually detest because of its popularity
instead make gradual changes.
 By creating a skirt that was narrow and flat in the front with draping on the sides he moved the

fullness to the back.

 Eventually this style became what we know as the bustle.

THE FIRST COUTURIER –

 Before worth began his design career, dresses had been made by dressmakers and designs had

been created by the customer and the dressmaker, who got ideas from looking at pictures of
popular dresses
st
 Worth was one of the 1 designers to come up with his own ideas, based on his knowledge of

women’s needs. Soon he started his own company

 The wife of an Austrian ambassador bought a dress from worth that attracted the notice pf the

empress of France
 Worth became the court designer, and was soon making dress for the royalty pf Russia, Italy,

Spain and Austria.

 Famous and wealthy American such as the Vanderbilt and the astors also came to the house of

worth for special gowns, making worth the first celebrity fashion designer.
 After he got married 1851, worth continued to design dress for his beautiful wife and they were

seen not only in the shop, but also around town. This lead to the couple establishing a now-
familiar marketing tactics:
Worth would design fabulous new dresses
The dress was produced for Marie to wear
Marie would be seen in the dress both at gagelii and at events around Paris
The orders for said dress would roll-in

WORTH AT BOBERGH –
 In 1858, worth teamed up 3with a Swedish former draper’s clerk named Olta Gustaf Bobergh

and opened worth at Bobergh at 7 Rue de la paix

THE 1ST FASHION SHOW –

st
 Worth is credited as the 1 to loan clothing to high profile clients.

 Worth also exhibited full collection

 He would prepare a full portfolio of design that were ultimately worn by live models and

presented to clients in as fashion parade.

  The design that models wore, were the equivalent to today’s samples – the client would select a
design they wanted, give worth their colour and fabric and their selection would be tailor made
in this workshop.
 Only a small and select group would be invited to these fashion parades but they were a
successful way to increase orders
 He was the father of haute couture
 He was the first:
To use live models.
To design and present seasonal collections
To hold fashion parades/fashion shows
To create princess seam
To be instrumental in founding what would become France’s fashion governing body, la
chamber syndicate de haute couture
 His style, innovations and influences on fashion:
Utilized a technique similar to smocking, called gauging, which produced a firm non elastic
fabric that was used to avoid placing darts in lacy and delicately patterned materials.
Launched the concept of mass produced dress components that would be re arranged to
create different dresses.

PAUL POIRET CONTRIBUTION 1879-1944 –

th
 Unsung hero of 20 century fashion
 Dressed Paris finest before world war I

 First great modernist

 Worked for Doucette and worth

 Poiret effected a concomitant revolution in dressmaking, one that shifted the emphasis away

from the skills of tailoring to those based on the way skills of draping
 Wife – Denise poiret – fashion icon – living advertisement for her husband

COCO CHANNEL –
 Gabrielle Bonheur channel

 Made bold and lasting impression on women’s fashion

 Started her career making hats for her wealthy friends

 Introduced jersey fabric in female fashion

 Chanel’s design was simple, practical and often inspired by menswear

 Credited for channel suit, little black dress and channel no.5.
 THE 20TH CENTURY
THE NOUGHTIES FASHION –
 A depiction of king Edward’s appreciation for the mature woman

 S bend corset – create figure like ‘5’

 Ample bosom, tiny waist, flattened stomach protruding butt

 Pouched bodice

 High boned collars.

THE S-BEND CORSET –

 Also called swan corset, straight front corset, health corset

 Creator – Inez Gaches Sarautte

 Rigid back at centre

 Result: 1) torso was pushed forward

2) illusion of smaller waist

3) stomach looked flatter
 Posterior part was pushed backward

 Gave the women a graceful poise

 Bodices and skirts

 Blouson

DAY DRESS IN THE NAUGHTIES –

 Modesty emphasized – covering the body from neck to the floor – long sleeves covering the

arms
 Skirts – bell-shaped

 Popular decoration – lace

 Fabrics – silk satin, damask and chiffon

 The most fashionable daywear was often as elaborately trimmed and accessorized as evening

wear

EVENING OUTFITS –
 Plunging necklines

 Sweeping skirts with more fullness at the hem

 A trumpet or bell shape

MALE FASHION IN 1901-1909 –

 No great changes, but rather subtle changes in details and accessories
  Men continued wearing suit in varying degrees of formality
 Frockcoat – considered old-fashioned – worn on Sundays or most conservative daywear
 Daywear – three-piece suit – varied colour and material – with starched shirt-fronts with high
collar
 Morning dress – most formal occasions
 Neckties – essential – allowed for a small pop colour
 Different looks for sports
 Evening wear – formal – rise in popularity of tuxedo – black coat with coordinating trousers
worn with crisp, starched white shirt-front and low-cut waist-coat matching the suit

FEMALE FASHION DURING 1910-1919 –

 Subdued silhouettes

 Slightly higher hemlines

 Narrow hem width

 Slim corsets

 Hats inspired by merry widow

 A completely new style, that of a revived empire waist emerged.

OTHER CONTRIBUTIONS BY PAUL POURET –

 Checked suits for women, using men’s wear textures and very comfortable

 Tunic blouses to be teamed up with hobble skirts or harem pants

 Lampshade tunic along with hobble dresses/ skirts,

 Fur collars and fur hems in women’s wear

 Sorbet dress – 1912. This was a lampshade tunic with the upper section inspired from the

kimono
 He created harem pants for resort wear for women

 He designed harem skirts which were gathered at the ankle

 He was also one of the people to deceive the empire line

 Turban style hats with jewels and feathers

 He was the first couturier to introduce fragrance

 He was the first couturier to introduce pinafore dress. Promoted brassieres instead of corsets.

THE HOBBLE SKIRT (1911) –

 Long narrow skirt that tapered in at the ankle

 Features – freed women from their corsets

 Legs were shackled to enable small steps

 The hobble skirt was inspired by Mrs. hart, the first woman to fly along with the wright the

brothers. As she was scared that her skirt would fly up during flight, she tied a cord over her skirt
around the calf region, to keep her skirt from flying. So, Paul poiret who was present, was
inspired to design a creation which was narrow and restrictive at the bottom at the calf and ankle
area.
 He designed the ‘hobble skirt’ without any slit. He also gave his clients, a pair of leg cuffs to

wear, so that it would reduce the step width as women could only take little steps, this was called
the hobble skirt.
 As a lot of people mocked the hobble skirt and many women wanted a more comfortable
version, he introduced a straighter skirt with a couple of pleats at the centre front in order to
ensure that there was more comfort, the hobble skirt is a ancestor of pencil skirt as well as
straight skirt.
FIRST BRASSIERE 1914 –
 Patented by Marie Phelps Jacob

 Material used – two silk handkerchief and pink ribbon

 Sold the patent to the brother’s corset company.

MALE FASHION DURING 1910-1919 –

 Continued on from the previous decade.

 Lunge suit – three-piece suit – much like business suits today

 Trouser legs crept up to ankle length for the shorter look, often with the cuffs turned up

 Worn with homburg hat – a felt hat with a sent down the top, or a bowler hat

 Frock coat and morning coat continued to have prominence for formal day events

 Evening wear – dark tailcoats, worn with waist coat and trousers.

FEMALE FASHION DURING 1920-1929 –

 La garcons – also known as flapper look – dropped waist and creeping hemlines – popularized

by coco channel
 Evening dress – ornate decoration – beadwork, sequins and embroidery

 Androgynous look – popularized by Jeanne Lavin – dress had long full skirt – accessorized with

straw hat
 Sportswear was accepted as daywear

 Hairstyle kept shorter

 Cloche hat – extremely popular accessory

 Declaration – dress is now no sign of social status; in fact, rather the contrary

MALE FASHION DURING 1920-1929 –

 Adopted soft collar and one or two button suit jacket often worn without a waist coat

 Pinstripes were popular

 Popular material – tweeds and flannels

 Two unique trouser – oxford bags and plus-fours

 Oxford bags – adopted by undergraduates at oxford-wide-legged trousers – about 22 inches wide

at the bottom.
 Plus-fours – short legged trousers that gathered around the knee – it had four extra inch – often

worn with sweaters

FEMALE FASHION DURING 1930-1939 –

 Fashion was influenced from Hollywood

 Roaring twenties also marked fashion during this period

 Hemlines descended back to ankle length and waistline moved back to their natural shape

 Silhouette was evolving into a slender, elongated torso with widening shoulders and neat head

with softly waved short hair

 Line were simple – overall effect was one of complete sinuous feminist with a natural waist and

skirt flaring out slightly at the ankle

 Bias cut contributed the overall slender look, creating fluid, body-skimming garments.

 Day dress came in variety of patterns; floral, plaid, dots and more abstract prints, like zebra print

suit
 Clearly defined waist and mid-calf length
  Popular smart suit – crisp line and sculpture, defined shoulders created through padding and
layers of fabric

JAZZAGE

MALE FASHION DURING 1930-1939 –

 Knitted sweater and soft collared shirt became increasingly popular during the day

 Ties were no longer obligatory

 Tuxedo continued to be popular choice

 Oxford bags were no longer as wise as before

 Trench coat and the leather bomber jacket also saw popularity

AQUASCUTUM COATS –
 Also known as trench coats

 First waterproof coats

 A gabardine long coats.

 Worn by British soldiers in WWI from protecting their uniform

 Worn in the trenches

 Colour – neutrals and earthy colours

 Military appearance with epaulets and brass rings on the belts

 Designed by Burberry.

FAHION DURING 1940-1949 –

Utility clothes –
 Most ubiquitous form of fashion during war

 Bought using ration coupons

 The look was simple but stylish with good proportion line

 Incorporated padded shoulders, a nipped-in waist and hems to just below the knee

NEW LOOK –
 Defined post-war style

 Officially named the ‘Corolle’

 Characterized by rounded shoulders, a cinched-in waist and significantly long, full skirt

 Bar suit – white, tailored jacket and full pleated black skirt

 Cherie dress – tight pleating, adding to the large amount of fabric to create the look

MALE FASHION DURING 1940-1949 –

 Strict guidelines – single breasted styles with lapel size and the number of pockets restricted

 Zoot suit – oversized jacket and voluminous trousers that were tapered at the ankle accompanied

with a wide tie.

FASHION DURING 1950-1959 –

 Women fashion prioritized elegance, formality and perfectly matched accessories

 Couture womenswear saw rapid changes

 New designers such as Cristobel Balenciaga and Hubert de Givenchy disrupted the overtly

feminine silhouette while novel prints and colours marked a playfulness in fashion
 The shape of new look was styled throughout the decade while remaining true to the nipped-in

waist and full skirt

  Striking aspect –two ladies could walk down the street in opposite outfit, yet appear modish
 Different silhouettes were introduced
 As the decade progressed, clothing became less structured and straighter in cut.
 Introduced by Channel, Dior, and Balenciaga around the same time, the straight-cut suit, in
contrast to the new look, emphasized a women’s natural shape with the jacket hanging at the
widest point of the hips.
 Poodle skirt – everyday wear – simple felt skirt cut in circle with any kind of embellishment, not
just a poodle
 Poodle skirts were paired with tight knitted twinsets
 Cocktail dress wear introduced

MALE FASHION DURING 1950-1959 –

 Leather jackets became popular

 Working class – jeans, a white t-shirt and leather jacket

 Suits maintained the baggy shape

FEMALE FASHION DURING 1960-1969 –

 Three main trends in 1960s

 First the lady-like elegance inherited from the previous decade

 Secondly the fun, youthful designs popularized by swinging London

 Thirdly the eastern influenced hippie styles of the late 1960s

 Fashion icon – Audrey Hepburn

MALE FASHION DURING 1960-1969 –

 Bright colours and colours for men

 Accommodated subtly daring new elements

 Collarless jacket worn with slim fitting trousers and boots

 Matched with heeled boots rather than shoes

 Later in the decade – turtle-neck sweaters, and zipped tunics in bonded jersey were worn with

more accessible styles

FASHION DURING 1970-1979 –

 Also known as polyester decade

 Patchwork, crochet and knitting. Embroidery were used by designers

 Prairie dress – mid-length with flounce and delicate floral patterns

 Important designer – Yves saint Laurent

 Disco became increasingly popular

MALE FASHION DURING 1970-1979 –

 Wide belts with large buckles focused the eye on the centre of the torso, making broader bodies

appear slimmer
 Sleeveless waistcoat

 Classic single-breasted sports jacket in tweed, denim or corduroy

 Or a blouson jacket in leather

FASHION AFTER 1980 –

 Power dressing wardrobe for the professional woman became main stay – padded shoulder suits

with trousers or skirts

 Punk sub-culture influences fashion
 Fashion of highly influenced by the designs like –
 Gianni Versace

 Giorgio Armani

 Franco Moschino

 Karl Lagerfeld

 Ralph Lauren

 Jean-paul gaultier

 Yohji yamamoto

 Donna karan and many more