BOOK OF COMPARISON

f a s h i o n s o c i e t y

'Art must be Beautiful, Artist must be Beautiful' is not about physical pain, but rather about the mental state that can be reached by way of pain

f O o o B B e a u t i f urli,s o n a p m o A Cr t i s t Art

m u s t bk e must be

Beautiful R E S W A R A h e r j u n o r a s e n d r i y a

Book Of Comparison

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T A B L E

O F

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P R E F A C E A B O U T

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S U M M A R Y S U M M A R Y B I B L I O T E C H

C O V E R

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A R T M O V E M E N T S

An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years.

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I N T R O D U C T I O N

The definition of introduction is making something known for the first time, or formally telling two people who the other person is.

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C O M P A R I S O N

Comparison or comparing is the act of evaluating two or more things by determining the relevant, comparable characteristics of each thing, and then determining which characteristics of each are similar to the other, which are different, and to what degree.

"I HAVE A THERAPIST. HIS NAME IS FASHION"

ICHWAN THOHA

T IchwanThoha

I would like to thank sir Ichwan Thoha for giving me good education and gave me new knowledge about fashion. Fashion history and fashion in general is something that i have enjoyrd learning that how yoy managed your class to be fun and conducive at the same time will always impressed me, I particulary enjoyed your lesson as it was very fun and always organized. Your countless knowledge for me will definitely be useful for me and thank you for not giving up on us even though we have done poorly in your classes. Your dedication for us is such a precius gift for me personally and for that i want to thank you, you are my inspiration that I will always cherish, you were such an amazing teacher and you had inspired me to be as great as you in the future

Serbian artist Marina Abramovic has been called the grandmother of performance art. Her works have often involved pain and endurance. In Art Must Be Beautiful, Artist Must Be Beautiful, her iconic 1975 performancefor-video, she aggressively combs and brushes her long

Art

hair, teasing it up, while repeating ‘art must be beautiful,

artist must be beautiful’. Her voice and expression betray her pain. In watching the video, one senses that the camera has taken the place of a mirror. Abramovic’s

must

be

Beautiful,

simple act is open to interpretation. It has been seen as exemplifying a feminist critique of expectations on

Artist

women to be beautiful, and yet it is compelling viewing

precisely because the artist is so beautiful. The work can be read as masochistic, but also as ascetic—with the

must

artist entering a trance-like state, ‘freeing body and soul

be

from the restrictions imposed by culture and from the fear of physical pain and death’. As Abramovic has

Beautiful

became one of the most famous figures in contemporary

art, it is now also easy to read the work retrospectively, as a meditation on celebrity and self-image

‘At that time, I thought that art should be disturbing rather than beautiful. But at my age now, I have started thinking that beauty is not so bad.’

A B O U T T H E C O V E R 'Art must be Beautiful, Artist must be Beautiful' is not about physical pain, but rather about the mental state that can be reached by way of pain. In the video recording of the her performance, one can see Abramovic aggressively combing her long hair. With a brush in one hand and a comb in the other, she works on her face and hair, while repeating the sentence 'art must be beautiful, artist must be beautiful'. Her voice betrays that she is in pain, and her face also makes it abundantly clear that she is hurting herself. Now and then,it seems as if she is falling into a trance. Then her voice is softer and the way she moves her brush and comb through her hair is less hard-handed. According to Abramovic, the purpose of her self-inflicted pain is to free the body and soul from the restrictions imposed by Western culture and from the fear of physical pain and death. From her perspective, performance art can be used to challenge and transgress physical and mental boundaries. In later years, she became acquainted with the Tibetan and Aboriginal cultures and with the rituals of the Sufi tribe. In the rituals of these cultures, the body is also driven to extreme physical limits, in order to enable a mental 'leap' into another dimension where physical limitations and fear no longer influence the human mind. During an interview in 1999, Abramovic said about her 1975 performance: 'A long time ago I made a piece called "Art must be Beautiful, Artist must be Beautiful". At that time, I thought that art should be disturbing rather than beautiful. But at my age now, I have started thinking that beauty is not so bad.'

M a r i n a

A b r a m o v i c

A R T

M O V E M E N T S

ART NOUVEAU

Art nouveau is an international style in architecture and design that emerged in the 1890s and is characterised by sinuous lines and flowing organic shapes based on plant formsTwitterFacebookEmailPinterest This complex international style in architecture and design was parallel to symbolism in fine art. Developed through the 1890s it was brought to a wider audience by the 1900 Exposition Universelle.In Britain, Charles Rennie Mackintosh’s designs exemplify the style, but in his work its characteristic flowing lines and organic shapes are seen within severe but eccentric geometry. Key examples of Art Nouveau are Paris Metro station entrances by Guimard; Tiffany glass; chair designs by Charles Rennie Mackinstish and his Glasgow School of Art; and the book designs of Aubrey Beardsley, Charles Ricketts and followers such as Arthur Rackham.Art nouveau flourished in the first decades of the twentieth century but was killed off by the First World War.

History

The term "Art Nouveau" stemmed from the name of the Parisian art gallery, called "La Maison de l'Art Nouveau", owned by the avant-garde art-collector Siegfried Bing (18381905), which showcased works created in the Art Nouveau style. The gallery's reputation and fame was considerably boosted by its installations of modern furniture, tapestries and objets d'art at the 1900 Exposition Universelle, after which the gallery's name became almost synonymous with the style.At the same time, in Belgium the style was promoted

by Les Vingt and La Libre Esthetique, while in Germany the style was popularized and promoted by a magazine called Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben (Youth: the illustrated weekly magazine of art and lifestyle of Munich), which is why German Art Nouveau - along with that of the Netherlands, the Baltic and the Nordic countries - has since been known as "Jugendstil" (youth-style). In Austria, Art Nouveau was first popularized by artists of the Vienna Secession movement, leading to the adoption of the name "Sezessionstil". In fact, the Vienna Secessionists, like Joseph Maria Olbrich (1867-1908), influenced art and architecture throughout Austria-Hungary. In Germany, after the Munich Secession (1892) and the Berlin Secession (1898), many of its leading practitioners came together again in 1907 as members of the Deutscher Werkbund (German Work Federation).Other temporary names were used which reflected the novelty of the style, or its ribbon-like curvilinear designs. For example, in France it was also known as "le style moderne" or "le style nouille" (noodle style); in Spain, "arte joven" (young art); in Italy "arte nuova" and in the Netherlands "Nieuwe kunst" (both, new art).

The style was also named after certain of its exponents or promoters. For instance, Hector Guimard's Parisian Metro entrances led to the temporary name "Style Metro"; in America the movement was called the "Tiffany style" due to its connection with the Art Nouveau glassmaker and jeweller Louis Comfort Tiffany.

POSTIMPRESSI ONISM Post-Impressionism is an art movement that developed in the 1890s. It is characterized by a subjective approach to painting, as artists opted to evoke emotion rather than realism in their work. While their styles, therefore, wildly varied, paintings completed in the Post-Impressionist manner share some similar qualities. These include symbolic motifs, unnatural color, and painterly brushstrokes.

History

In the 1870s and 1880s, Impressionism dominated avant-garde art in France. Many up-and-coming artists, however, found fault in the Impressionists’ focus on style rather than subject matter. Aiming to shake up the contemporary art world, this group of stylistically dissimilar artists—including Paul Cézanne, Paul Gauguin, Vincent van Gogh, Georges Seurat, Henri Toulouse-Lautrec, and Henri Rousseau—formed the Post-Impressionists.Like the Impressionists, the PostImpressionists shared their work with the public through independent exhibitions across Paris. In 1910, noted art critic, historian, and curator Roger Fry coined the term “Post-Impressionism” with his show, Manet and the Post-Impressionists. Much like the Post-Impressionists themselves, Fry believed that the beauty of art is inherently rooted in perception. “Art is an expression and stimulus to the imaginative life rather than a copy of actual life,” Fry explains in An Essay in Aesthetics. “Art appreciates emotion in and for itself. The artist, is the most constantly observant of his surroundings and the least affected by their intrinsic aesthetic value. As he contemplates a particular field of vision the aesthetically chaotic and accidental conjunction of forms and colours begin to crystallize into a harmony.”

Today, these ideas help us to understand the common thread between these artists.

FAUVISM'S

Fauvism is a movement co-founded by French artists Henri Matisse and André Derain. The style of les Fauves, or “the wild beasts,” is characterized by a saturated color palette, thick brushstrokes, and simplified—often nearly abstracted—forms. The movement flourished in Paris and other parts of France from 1905 until 1910.

History

In the 1890s, Symbolist artist Gustave Moreau taught Matisse and other French painters like Georges Rouault and Albert Marquet at Paris’ École des BeauxArts, or the “School of Fine Arts.” His deep appreciation for pure color and unconventional approach to art inspired Matisse and his peers to experiment with their own palettes and painting techniques in the years leading up to the turn-of-thecentury.

Moreau’s students were not the only future Fauve painters exploring new frontiers of art at this time. Others, including André Derain and Maurice de Vlaminck, were also pushing painting’s boundaries.

Specifically, they looked to the flat compositions of Paul Cézanne and the “exotic” colors of Paul Gauguin for inspiration.In 1905, these avant-garde advancements in painting were pushed to the forefront following the Salon d’Automne (“Autumn Salon”), an independent art exhibition in Paris. Here, Matisse, Derain, De Vlaminck, and other artists exhibited their distinctive art, which was met with disdain by art critics—namely, Louis Vauxcelles, who famously described the artists as “les Fauves.”

CUBISM Cubism is an art movement that made its debut in 1907. Pioneered by Pablo Picasso and Georges Braque, the style is characterized by fragmented subject matter deconstructed in such a way that it can be viewed from multiple angles simultaneously.

History At the turn of the century, PostImpressionism and Fauvism— movements inspired by the Impressionists‘ experimental approach to painting—dominated European art. French painter, sculptor, printmaker, and draughtsman Georges Braque contributed to the Fauvist movement with his polychromatic paintings of stylized landscapes and seascapes. In 1907, Braque met Spanish painter, sculptor, printmaker, and designer Pablo Picasso. At this time, Picasso was in his “African Period,” producing primitive works influenced by African sculpture and masks. Like Braque’s Post-Impressionist paintings, these pieces played with form (and sometimes color), but remained figurative. After they met, however, Braque and Picasso began working together, deviating further from their previous styles and collaboratively creating a new genre: Cubism.

FUTURISM

Fascinated by new industry and thrilled by what laid ahead, the early 20thcentury Futurists carved out a place in history. Growing out of Italy, these artists worked as painters, sculptors, graphic designers, musicians, architects, and industrial designers. Together, they helped shape a new, modern style of art that still has staying power today.The Futurists were revolutionaries, members of an avant-garde movement that sought to free itself from the artistic norms of the past. Through frequent, well-laid-out manifestos, they were able to spread their ideas widely and enjoyed great success prior to World War I. This group firmly looked forward and couldn’t get enough of what they saw. For the Futurists, the past was something to look down on. Airplanes and automobiles symbolized the speed they craved and the dynamism with which they saw the world. Today, the Futurist movement is known for its embracing of speed, violence, and youth culture in an attempt to move culture forward. Though the movement is probably most widely associated with Umberto Boccioni’s sculpture Unique Forms of Continuity in Space, there’s a lot more to explore.

History

Futurism was founded in Milan by the Italian poet Filippo Tommaso Marinetti. He published his Manifesto of Futurism in 1909, first in the La gazzetta dell’Emilia and then in France’s daily newspaper Le Figaro.This initial manifesto laid out the Futurist’s disdain for the past, stating “We want no part of it, the past, we the young and strong Futurists!” In the text, it’s also clear that Marinetti wishes to reestablish Italy as a new cultural center. Italy, which was only unified in 1870, was still basking in the glory of the ancient Roman Empire and the Italian Renaissance. For the Futurists, this wasn’t enough.In fact, Marinetti was through with the past, writing, “We will free Italy from her innumerable museums which cover her like countless cemeteries.” Futurists saw much more beauty in the great industrial discoveries of the 20th century than classical painting and sculpture. In the manifesto, they outright state that modern industrial inventions are much more appealing: “We declare…a new beauty, the beauty of speed. A racing motor car…is more beautiful than the Victory of Samothrace.”

The manifesto also promoted violence and the necessity of war, but interestingly did not discuss or outline any rules for the visual arts. That would come later, with the 1914 Technical Manifesto for Futurist Painting.

It was just one of many manifestos that they would produce, as the Futurists wrote about all sorts of topics, from architecture and religion to clothing.Surrounding Marinetti during this early stage was a core group of artists that would shape Futurism and, particularly, the visual arts.

Composer Luigi Russolo, as well as painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, and Gino Severini formed the original Futurists.

VORTICISM

The vorticists were a British avant-garde group formed in London in 1914 with the aim of creating art that expressed the dynamism of the modern world

History

The group was founded by the artist, writer and polemicist, Wyndham Lewis in 1914. Their only group exhibition was held in London the following year. Vorticism was launched with the issue (of two) of the magazine Blast which contained among other material two aggressive manifestos by Lewis ‘blasting’ what he considered to be the effeteness of British art and culture and proclaiming the vorticist aesthetic: ‘The New Vortex plunges to the heart of the Present – we produce a New Living Abstraction’.Vorticist painting combined cubist fragmentation of reality with hard-edged imagery derived from the machine and the urban environment.

It was, in effect, a British equivalent to futurism, although with doctrinal differences, and Lewis was deeply hostile to the futurists. Other artists involved with the group were Lawrence Atkinson, Jessica Dismorr, Cuthbert Hamilton, William Roberts, Helen Saunders, Edward Wadsworth, and the sculptors Sir Jacob Epstein and Henri Gaudier-Brzeska. David Bomberg was not formally a member of the group but produced major work in a similar style.The First World War brought vorticism to an end, although in 1920 Lewis made a brief attempt to revive it with Group X. The horrors of war brought about a rejection of the avant-garde in favour of traditional art making, known as return to order.

SUPREM ATISM Name given by the Russian artist Kasimir Malevich to the abstract art he developed from 1913 characterised by basic geometric forms, such as circles, squares, lines and rectangles, painted in a limited range of coloursTwitterFacebookEmail Pinterest

History The first actual exhibition of suprematist paintings was in December 1915 in St Petersburg, at an exhibition called O.10. The exhibition included thirty-five abstract paintings by Kazimir Malevich, among them the famous black square on a white ground (Russian Museum, St Petersburg) which headed the list of his works in the catalogue.In 1927 Malevich published his book The Non-Objective World, one of the most important theoretical documents of abstract art. In it he wrote: ‘In the year 1913, trying desperately to free art from the dead weight of the real world, I took refuge in the form of the square.’ Out of the ‘suprematist square’ as he called it, Malevich developed a whole range of forms including rectangles, triangles and circles often in intense and beautiful colours. These forms are floated against a usually white ground, and the feeling of colour in space in suprematist painting is a crucial aspect of it.Suprematism was one of the key movements of modern art in Russia and was particularly closely associated with the Revolution. After the rise of Stalin from 1924 and the imposition of socialist realism, Malevich’s career languished. In his last years before his death in 1935 he painted realist pictures. In 1919 the Russian artist El Lissitsky met Malevich and was strongly influenced by suprematism, as was the Hungarian born Laszlo Moholy-Nagy.

DE STIJL De Stijl was a circle of Dutch abstract artists who promoted a style of art based on a strict geometry of horizontals and verticals

History

Originally a publication, De Stijl was founded in 1917 by two pioneers of abstract art, Piet Mondrian and Theo van Doesburg. De Stijl means style in Dutch. The magazine De Stijl became a vehicle for Mondrian’s ideas on art, and in a series of articles in the first year’s issues he defined his aims and used, perhaps for the first time, the term neo-plasticism.

This became the name for the type of abstract art he and the De Stijl circle practised.Other members of the group included Bart van der Leck, Vantongerloo and VordembergeGildewart, as well as the architects Gerrit Rietveld and JJP Oud. Mondrian withdrew from De Stijl in 1923 following Van Doesburg’s adoption of diagonal elements in his work. Van Doesburg continued the publication until 1931.De Stijl had a profound influence on the development both of abstract art and modern architecture and design.

DADA

Dada was an art movement formed during the First World War in Zurich in negative reaction to the horrors and folly of the war. The art, poetry and performance produced by dada artists is often satirical and nonsensical in nature

History

Perhaps best summed up by the famous Dadaist poet Hugo Ball, the Dadaist goal of art was not to have art be “an end in itself, but [to be] an opportunity for the true perception and criticism of the times we live in.” And surely enough the times of Dadaism were filled with grief, destruction, and chaos, as they witnessed the rampant mass devastation of WWI. The movement was a loosely knit international network that was prominent in Zürich, Switzerland; New York City; Berlin, Cologne, and Hanover, Germany; and Paris. Dadaists were not connected by their styles, mediums, or techniques. Instead, they were connected by their uniform practices and beliefs. They saw themselves as crusaders against rational thought, which they believed to be responsible for the declination of social structures, the growth of corrupt and nationalist politics, and the spread of violence and war. They challenged and mocked the definition of art and its elitist establishment with such works as Marcel Duchamps Fountain (1917), which was a porcelain urinal, and they utilized photomontages, as well as a plethora other artistic mediums, in their public meetings to protest against the nascent Nazi party in Germany. Dadaists fought strongly across the globe against such repressive social institutions, though were written-off by some as merely absurdist and inconsequential based on their plentiful antics and scattered network.

ARTDECO Art Deco is a modernist movement that emerged in 1920s Europe.

While many different aesthetics compose the movement—including different color palettes and a range of materials, from ebony and ivory to wood and plastic—it is most frequently characterized by streamlined, geometric forms contrasted by rich ornamentation and linear decoration.

History While hints of Art Deco popped up in pre-World War I France, it became an international art movement around 1925.

Initially known as Style Moderne, it was noted for its avant-garde and elegant aesthetic.

It gained particular prominence and popularity during the Exposition Internationale des Arts Décoratifs et Industriels Modernes, or The International Exhibition of Modern Decorative and Industrial Arts, which heavily featured this exciting new style. Shortly after the groundbreaking exposition, the snazzy style made its way to America, where it was embraced by artists and architects alike— particularly, in buzzing New York City. While it remained popular in both Europe and America throughout the 1930s, the style abandoned its Arts and Crafts roots for a sleeker look during the Great Depression.

SURREAL ISM A twentieth-century literary, philosophical and artistic movement that explored the workings of the mind, championing the irrational, the poetic and the revolutionary

History

Surrealism aimed to revolutionise human experience, rejecting a rational vision of life in favour of one that asserted the value of the unconscious and dreams. The movement’s poets and artists found magic and strange beauty in the unexpected and the uncanny, the disregarded and the unconventional.The word ‘surrealist’ (suggesting ‘beyond reality’) was coined by the French avant-garde poet Guillaume Apollinaire in a play written in 1903 and performed in 1917. But it was André Breton, leader of a new grouping of poets and artists in Paris, who, in his Surrealist Manifesto (1924), defined surrealism as: pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.Many surrealist artists used automatic drawing or writing to unlock ideas and images from their unconscious minds, and others sought to depict dream worlds or hidden psychological tensions.Attractive to writers, artists, photographers and filmmakers from around the world who shared this aggressive rejection of conventional artistic and moral values, surrealism quickly became an international movement. It exerted enormous impact on the cultural life of many countries in the interwar years and later.Many argue that surrealism, as an identifiable cultural movement, ended with the death of Breton in 1966. Others believe that it remains a vital and relevant force today.While ‘surreal’ is often used loosely to mean simply ‘strange’ or ‘dreamlike’, it is not to be confused with ‘surrealist’ which describes a substantial connection with the philosophy and manifestations of the surrealist movement.

POP ART Pop Art is a distinctive genre of art that first “popped” up in post-war Britain and America. Primarily characterized by an interest in popular culture and imaginative interpretations of commercial products, the movement ushered in a new and accessible approach to art. Ranging from quirky to critical, the pieces produced by Pop artists in the 1950s and 1960s commented on contemporaneous life and events.In addition to the unique iconography itself, the artists’ treatment of the subject matter helps to define the genre. Renowned for its bold imagery, bright color palette, and repetitive approach inspired by mass production, the movement is celebrated for its unique and recognizable style.

History So, how did modern illusion art get its start? Its roots are in kinetic art, which is a genre that creates movement “perceivable by the viewer.” Op Art is an offshoot of it, in which this movement is produced through optical illusions. The 1950s was its heyday, but that wasn’t the first we had seen of these sorts of mindbending works. Rubin’s vase is one of the most famous examples of this. It was created in 1915 by Danish psychologist Edgar Rubin and is still popular today.Contemporary forms of illusion art are as varied as the tools used to create them. Whether it’s perfectly-painted body art or surreal children’s book illustrations, each of these pieces use some form of visual trickery. They’ll make you look twice—once out of disbelief and another to figure out how the artist worked their magic.

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VICTORIAN 2ND EMPIRE Alexandrina Victoria

Marriage

Though Victoria was now queen, as an unmarried young woman she was required by social convention to live with her mother, despite their differences over the Kensington System and her mother's continued reliance on Conroy.Her mother was consigned to a remote apartment in Buckingham Palace, and Victoria often refused to see her. When Victoria complained to Melbourne that her mother's close proximity promised "torment for many years", Melbourne sympathised but said it could be avoided by marriage, which Victoria called a "schocking alternative". Victoria showed interest in Albert's education for the future role he would have to play as her husband, but she resisted attempts to rush her into wedlock.Victoria continued to praise Albert following his second visit in October 1839. Albert and Victoria felt mutual affection and the Queen proposed to him on 15 October 1839, just five days after he had arrived at Windsor. They were married on 10 February 1840, in the Chapel Royal of St James's Palace, London.

Victoria was love-struck. She spent the evening after their wedding lying down with a headache, but wrote ecstatically in her diary:

I NEVER, NEVER spent such an evening!!! MY DEAREST DEAREST DEAR Albert ... his excessive love & affection gave me feelings of heavenly love & happiness I never could have hoped to have felt before! He clasped me in his arms, & we kissed each other again & again! His beauty, his sweetness & gentleness – really how can I ever be thankful enough to have such a Husband! ... to be called by names of tenderness, I have never yet heard used to me before – was bliss beyond belief!

Oh! This was the happiest day of my life!

Queen of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. On 1 May 1876, she adopted the additional title of Empress of India.

Known as the Victorian era, her reign of 63 years and seven months was longer than that of any of her predecessors. It was a period of industrial, cultural, political, scientific, and military change within the United Kingdom, and was marked by a great expansion of the British Empire.

Victoria was the daughter of Prince Edward, Duke of Kent and Strathearn (the fourth son of King George III), and Princess Victoria of Saxe-Coburg-Saalfeld. After both the Duke and his father died in 1820, she was raised under close supervision by her mother and her comptroller, John Conroy. She inherited the throne aged 18 after her father's three elder brothers died without surviving legitimate issue. The United Kingdom was an established constitutional monarchy in which the sovereign held relatively little direct political power.

Privately, she attempted to influence government policy and ministerial appointments; publicly, she became a national icon who was identified with strict standards of personal morality.Victoria married her cousin Prince Albert of Saxe-Coburg and Gotha in 1840.

Their children married into royal and noble families across the continent, earning Victoria the sobriquet "the grandmother of Europe" and spreading haemophilia in European royalty. After Albert's death in 1861, Victoria plunged into deep mourning and avoided public appearances. As a result of her seclusion, republicanism in the United Kingdom temporarily gained strength, but in the latter half of her reign, her popularity recovered. Her Golden and Diamond Jubilees were times of public celebration. She died on the Isle of Wight in 1901. The last British monarch of the House of Hanover, she was succeeded by her son Edward VII of the House of Saxe-Coburg and Gotha.

The Years of Mourning

His death sent Victoria into a deep depression, and she stayed in seclusion for many years, rarely appearing in public. She mourned him by wearing black for the remaining forty years of her life.Albert's death came suddenly. In November 1861, he contracted typhoid fever.

He lay sick in bed for several weeks, finally succumbing to the disease on December 14. He was only forty-two years old.

The Queen turned mourning into the chief concern of her existence the next several years. The Prince's rooms in their residences were maintained exactly as he had them when he was alive. Her servants were instructed to bring hot water into his dressing room every day as they had formerly done for his morning shave. She had statues made of him, displayed mementos of his around the royal palaces, and she spent most of her time secluded in Windsor Castle or in Balmoral up in Scotland

"How I, who leant on him for all and everything—without whom I did nothing, moved not a finger, arranged not a print or photograph, didn't put on a gown or bonnet if he didn't approve it shall go on, to live, to move, to help myself in difficult moments?"

WOMAN

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1840s fashion is characterised by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. Evening dresses were often off the shoulder.

Hair was parted in the centre with ringlets at the side of the head, or styled with loops around the ears and pulled into a bun at the back of the head. Paisley or crochet shawls were fashionable accessories, as were linen caps with lace frills for indoor wear, and large bonnets for outdoors. Capes with large collars were fashionable.

MEN

Very fashionable men sported low, tightly cinched waists, with rounded chests and flared frock-coats that gave them a rather hour-glass figure inspired by Prince Albert. They also wore tight trousers and waistcoats, with high upstanding collars and neckties tied around them. Hair was worn quite long, but swept to the sides. Moustaches and side-burns were popular.

WOMAN

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1860s women's dress featured tight bodices with high necks and buttoned fronts. White lace was popular for collars and cuffs, as were low sloping shoulders that flared out into wide sleeves. The skirt continued to be full and bell-shaped until around 1865 when it began to lose its volume at the front and move its emphasis towards the back.

Hair was worn with a centre parting tied into low chignons at the nape of the neck, with loops or ringlets covering the ears. Ornaments for evening wear included floral wreaths, ostrich feathers, pomegranate flowers, wheatears and butterflies.

MEN

In the 1860s it was fashionable for men's coats and jackets to be singlebreasted and semi-fitted, extending to the mid thigh. Waistcoats were often collarless and single-breasted, and trousers were occasionally cut from a narrow check cloth. High, starched collars were worn with cravats and neckties. Hair was parted from the centre and moderately waved. A particular hairstyle, known as 'Dundreary whiskers' or 'Piccadilly weepers', were long pendant side-whiskers worn with a full beard and drooping moustache.

WOMAN

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1880s women's dress featured tightly fitting bodices with very narrow sleeves and high necklines, often trimmed at the wrists with white frills or lace. At the beginning of the decade the emphasis was at the back of the skirt, featuring ruching, flouncing, and embellishments such as bows and thick, rich fabrics and trims. The middle of the decade saw a brief revival of the bustle, which was so exaggerated that the derriere protruded horizontally from the small of the back. By the end of the decade the bustle disappeared. Hair was worn in tight, close curls on the top of the head. Hats and caps were correspondingly small and neat, to fit on top of the hairstyle.

MEN

For men, lounge suits were becoming increasingly popular. They were often quite slim, and jackets were worn open or partially undone to reveal the high buttoning waistcoat and watch-chain. Collars were stiff and high, with their tips turned over into wings. Neckties were either the knotted 'four in hand', or versions of the bow-tie tied around the collar.

WOMAN

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In the 1850s, women's skirts were domed and bell-shaped, supported by crinoline petticoats.They often featured deep flounces or tiers.Long bloomers and pantaloons trimmed with lace were popular.Tiered cape-jackets were fashionable, as were paisley patterned shawls.Deep bonnets were worn and hair was swept into buns or side coils from a centre parting.

MEN

Men wore matching coats, waistcoats and trousers, with hairstyles characterised by large mutton-chop side-burns and moustaches, after the style set by Prince Albert.Shirts had high upstanding collars and were tied at the neck with large bow-ties.High fastening and tight fitting frock coats were also very fashionable; though a new style called the sack coat (a thigh-length, loosely fitted jacket) became popular.The bowler hat was invented around 1850, but was generally seen as a working class hat, while top-hats were favoured by the upper classes.

WOMAN

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1870s women's fashion placed an emphasis on the back of the skirt, with long trains and fabric draped up into bustles with an abundance of flounces and ruching. The waist was lower in the 1870s than the 1860s, with an elongated and tight bodice and a flat fronted skirt. Low, square necklines were fashionable. Hair was dressed high at the back with complicated twists and rolls, falling to the shoulders, adorned with ribbons, bands and decorative combs. Hats were very small and tilted forward to the forehead. Later in the decade wider brimmed 'picture hats' were also worn, though still tilted forwards.

MEN

Coats and jackets were semi-fitted and thigh-length. Generally, both jackets and waistcoats were buttoned high on the chest. Shirt collars were stiff and upstanding, with the tips turned down into wings. Hair was often worn parted in the centre, and most forms of facial hair were acceptable, though being clean shaven was rare.

WOMAN

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In the early part of the decade, women wore tight bodices with high collars and narrow sleeves, much as they had done in the previous decade. From about 1893 however, sleeves started expanding into a leg-of-mutton shape, which was tight at the lower arm and puffed out at the upper arm. Wide shoulders were fashionable and horizontal decoration on the bodice further exaggerated the line. Skirts were worn in a full-length, simple A-line. Masculine styles and tailoring were increasingly popular, and women sometimes sported a shirt collar and tie, particularly when playing golf or out walking. Hair was worn high on top of the head, in tight curls. Hats were small or wide with lots of trimming, but generally worn squarely on top of the head.

MEN

The three-piece lounge suit was very popular and regularly worn from the 1890s onwards, and it became increasingly common to have creases at the front of the trousers. Frock coats were still worn, but generally by older or more conservative men. Collars were starched and high, with the tips pressed down into wings, though by the end of the century collars were more frequently turned down and worn with the modern long, knotted tie style. Hair was cut short and usually parted at the side. Heavy moustaches were common, and older men still sported beards. Some men now went clean-shaven.

In 1890, the woman’s waist was tightened with a short corset and an hourglass model was created. The skirt is bell-shaped and the balloon-shaped sleeves are used high. In 1895 a loose skirt with high-cut blouse or jacket with head sleeves appears. From 1900 women wear a long ‘health corset’, which provided an S-line. The ribs are no longer crushed, but the skeleton is distorted. Some women wear health-care clothing: shapeless ‘bag-style’ dresses without a corset.Women’s fashionsFashionable women’s clothing styles shed some of the extravagances of previous decades, but corseting continued unmitigated, or even slightly increased in severity. Early 1890s dresses consisted of a tight bodice with the skirt gathered at the waist and falling more naturally over the hips and undergarments than in previous years.The mid-1890s introduced leg o’mutton sleeves, which grew in size each year until they disappeared in about 1906. During the same period of the mid-1890s, skirts took on an A-line silhouette that was almost bell-like.

The late 1890s returned to the tighter sleeves often with small puffs or ruffles capping the shoulder but fitted to the wrist. Skirts took on a trumpet shape, fitting more closely over the hip and flaring just above the knee. Corsets in the 1890s helped define the hourglass figure as immortalized by artist Charles Dana Gibson. In the very late 1890s, the corset elongated, giving the women a slight S-bend silhouette that would be popular well into the Edwardian era.

The hat is the capeline adorned with feathers or ribbons.The coat is worn very long, crossed with a double row of buttons on a jacket- fitted jacket with puffed sleeves at the top and tightened by long gloves at the bottom.The satin often decorated with velvet and sequins are on the way.The bodice is gathered on the bust or with a plastron and the sleeves are puffy.The braceletand velvet necklace or assorted ribbons are the essential accessories; necklaces of this kind are called choker.In front of the boom of the bicycle, other elements of the suit appear: the short pants and gathered at the knees, it is worn with leggings or stockings and a bodice with a scoop neck and puffed sleeves. It is possible to add a short skirt on the pants or even a skirt. The whole with a jacket-jacket floating wide-lapel worn with or without a fluffy tie which already foreshadows the tailor.

DressBy 1890, the crinoline and bustle was fully abandoned, and skirts flared away naturally from the wearer’s tiny waist. It evolved into a bell shape, and were made to fit tighter around the hip area.

Necklines were high, while sleeves of bodices initially peaked at the shoulders, but increased in size during 1894. Although the large sleeves required cushions to secure them in place, it narrowed down towards the end of the decade. Women thus adopted the style of the tailored jacket, which improved their posture and confidence, while reflecting the standards of early female liberation.

Sportswear and tailored fashionsChanging attitudes about acceptable activities for women also made sportswear popular for women, with such notable examples as the bicycling dress and the tennis dress.

Unfussy, tailored clothes, adapted from the earlier theme of men’s tailoring and simplicity of form, were worn for outdoor activities and traveling. The shirtwaist, a costume with a bodice or waist tailored like a man’s shirt with a high collar, was adopted for informal daywear and became the uniform of working women. Walking suits featured ankle-length skirts with matching jackets. The notion of “rational dress” for women’s health was a widely discussed topic in 1891, which led to the development of sports dress.

This included ample skirts with a belted blouse for hockey. In addition, cycling became very popular and led to the development of “cycling costumes”, which were shorter skirts or “bloomers” which were Turkish trouser style outfits. By the 1890s, women bicyclists increasingly wore bloomers in public and in the company of men as well as other women. Bloomers seem to have been more commonly worn in Paris than in England or the United States and became quite popular and fashionable. In the United States, bloomers were more intended for exercise than fashion. The rise of American women’s college sports in the 1890s created a need for more unencumbered movement than exercise skirts would allow. By the end of the decade, most colleges that admitted women had women’s basketball teams, all outfitted in bloomers. Across the nation’s campuses, baggy bloomers were paired with blouses to create the first women’s gym uniforms.

LATE VICTORIAN

Women fashion in the 1890s is characterized by long elegant lines, tall collars, and the rise of sportswear. It was an era of great dress reforms led by the invention of the drop-frame safety bicycle, which allowed women the opportunity to ride bicycles more comfortably, and therefore, created the need for appropriate clothing.

Victorian dress reformVictorian dress reform comprising various reformers who proposed, designed, and wore clothing considered more practical and comfortable than the fashions of the time. The movement emerged in the Progressive Era along with calls for temperance, women’s education, suffrage and moral purity.

Dress reform called for emancipation from the “dictates of fashion”, expressed a desire to “cover the limbs as well as the torso adequately,” and promoted “rational dress”. The movement had its greatest success in the reform of women’s undergarments, which could be modified without exposing the wearer to social ridicule. Dress reformers were also influential in persuading women to adopt simplified garments for athletic activities such as bicycling or swimming. Some proponents of the movement established dress reform parlors, or storefronts, where women could buy sewing patterns for the newfangled garments, or buy them directly.

Belle époque

It is the time of the beau monde. They are carefree years and there is a sunny optimism, wealth and decadence. Rich people earn a great deal in a short period of time through the industrial revolution and retire to the countryside for sumptuous feasts and exclusive dinners. A society lady is expected to dress up several times a day, from sober richness or a walking dress to an impressive evening attire. In this time many fashion houses in Paris are founded.

The British court is bursting with luxury thanks to the Indian colony.

Edwardian fashion refers to the clothing that was in style between the late 1890s and 1914 or the beginning of the Great War (World War I). Also called La Belle Epoque (the Beautiful Era), and the Gilded Age, this was a time when women's fashions took on a new opulence and extravagance, inspired by the hedonistic lifestyle of Britain's King Edward VII.The design trends of the Edwardian era revolved around the S curve when corsets created an S-shaped female silhouette, a change from the Victorian hourglass figure.The S bend corset forced the hips back and bust forward. The ideal female figure was a mature woman with a pigeon shaped monobosom.

King Edward VII

After the death of the highly influential Queen Victoria in 1901, her son Edward rose to the throne. Edward VII had, until recently, the distinction of being the longest-serving Prince of Wales (59 years) and spent much of his attention on his lavish lifestyle. Edward is rumored to have had 55 love affairs, including romantic liaisons with famous actresses Lillie Langtry and Sarah Bernhardt.The British royal family were the trendsetters of the day. British high society reigned as the cultural elite and Edward's extravagance ruled fashion and set the tone for behavior and fashion. Middle-class women looked up to the elite for inspiration and hoped to emulate their 'betters.'

King Edward VII

By the late 1890s, the Industrial Revolution had created new technologies that changed the way people lived. The growth of factories spawned a large middle class as large corporations generated new wealth and an upwardly mobile middle class.Sewing machines enabled the production of ready-made clothing and made it easier for women to sew their own clothes.An increased literacy in the new middle class gave women access to information.The inventions of the typewriter, telephone, and telegraph offered women increased employment opportunities when previously, women's jobs were restricted to domestic servitude or factory work.Despite the fact that a large majority of working women labored long hours for low pay in dimly lit, poorly ventilated factories and mills, a new kind of woman was beginning to emerge. The new women of the early 1900s were educated and informed, with an interest in politics and social causes.The opposing concepts of an educated middle-class woman who was active and outgoing contrasted with the urge toward luxury and hedonism to create the culture we call Edwardian.

Edwardian Fashion Icons

All fashion eras have their archetypes. Edwardian trendsetters included the Gibson Girl and Alice Roosevelt Longworth.The Gibson Girl was a fictitious, unnamed character portrayed in the illustrations of Charles Dana Gibson, who created what would become the feminine ideal for 20 years.The Gibson Girl was shown as youthful and strong, fun-loving, yet sophisticated. She was tall and slender with a long neck, ample bust and hips, and a small waist. Her upswept bouffant hairdo was all the rage, and her aristocratic bearing inspired young women everywhere. The Gibson Girl was smart and independent, charming, and intelligent but was never shown to be political or interested in social causes.The Gibson Girl became a merchandising bonanza. Her face and form were depicted on trays, on prints, pillowcases, souvenirs, and ashtrays.Alice Roosevelt Longworth, the eldest daughter of Theodore Roosevelt, was a high profile society figure in the USA. Beautiful and outspoken, Alice rode in cars with men, smoked, and kept a pet snake. The song "Alice Blue Gown," referred to the popular shade called Alice Blue named after her eyes: light blue with a hint of gray.Her father, the President of the United States once said, "Either I can run the country or tend to Alice but I can't possibly do both."

As the century changed, so changed clothing design trends. Gone was the bustle (a pad at the rear end) and heavy fabrics of the previous century. A new, lighthearted concept overtook women's fashions along with a sentiment of eternal summer with dresses made of lightweight fabrics for a more active lifestyle.

The 2-piece dress came into vogue. Skirts hung tight at the hips and flared at the hem, creating a trumpet or lily-like shape.

Skirts in 1901 had decorated hems with ruffles of fabric and lace.

Some dresses and skirts featured trains.

Tailored jackets, first introduced in 1880, increased in popularity, and by 1900, tailored suits became hugely popular.

By 1904 skirts became fuller and less clingy.

In 1905 skirts fell in soft folds that curved in, then flared out near the hemlines.

From 1905–1907, waistlines rose.

In 1910 the hobble skirt was introduced: a tight-fitting skirt that restricted a woman's stride.

Lingerie dresses, or tea gowns made of soft fabrics, festooned with ruffles and lace were worn indoors.

The blouses and bodices of the Edwardian period were embellished with pieces of lace and beadwork, and lines of ruffles.

In the late 1890s, bodices were bloused with a pouched effect. Corsets gave women a monobosom—the corset did not divide the bust but rendered a pigeon-like look.

By 1904 blousing spread to the sides of the bodice.

Blouses, or bodices, featured high necks in light fabrics or lace Evening wear bodices showed more skin with sweet heart, round, or square necklines.

Early Edwardian sleeves fit tightly at the top of the arm, filled toward the lower end, and gathered into a tight cuff.

1900–1905 Edwardian fashion trended toward open end pagoda sleeves.

By 1905 fullness at the wrist was gone, and sleeves were wide and full at the top.

Sleeves stayed full at the top through 1909. They narrowed below the elbow and fit snuggly at the wrist in a style often called Leg of Muttun.

In 1910 the kimono sleeve was open, loose, and comfortable.

Influential Edwardian Fashion Designer Paul Poiret

Ladies' Edwardian fashion was greatly influenced by the designer Paul Poiret, known as the creator of modern clothing shapes and designs. His clothing designs were inspired by art, including classicism, Orientalism, and Art Nouveau. Poiret's comfortable styles freed women from the constriction of corsets and relied on draping for effect.In 1908, he introduced the straight tube sheath dress. Women abandoned the S corset for longer, straighter corsets and bras. His Oriental style became popular after the Ballet Russes performed Scheherazade in Paris in 1910. Fashion concepts included exotic designs based on harem wear in bright colors with beaded embellishment. The lampshade tunic came into vogue toward the end of Edwardian times as did the Directoire style of 1912 (as pictured at the top of this article), which featured a high waist that accentuated a long, slim figure.Turbans and jeweled slippers were a feature of Orientalism and a new exotic style of dress for Edwardian women.But, the Great War (World War I)put an end to extravagant trends as the world turned to a war economy with shortages of fabric and leather, and the more austere fashions usually dictated by the privations of war.

EDWARDIAN FASHION MEN’S SACK SUIT

For starters, Edwardian era men wore sack suits. These were long, plain, loose fitting (some might say baggy) suit jackets with 2.75 inch wide lapels and a one to three button closure. Modern suits are similar but usually shorter in length and fitted. Sack suits were usually 30-32 inches long (down to mid-thigh) and either single or double breasted with 3 buttons. Color choices were dark navy, grey, green, and brown. In 1912 there was a brief trend for purple suits. Fabrics were all wool with hints of striping, checks and plaid. Some cheaper fabric blended wool and cotton together. Compared to modern suiting fabrics they were very thick.

EDWARDIAN

EDWARDIAN FASHION MEN’S SACK SUIT

A matching waistcoat or vest, was worn under the suit. The five button vest cut was mid chest, at the lowest, to be hidden under the jacket that is until 1914 when fancy vests aka “high -falutin” vests came up higher on the chest so as to be seen under the jacket. Most vests did not have lapels or collars. They did have 2-4 slash pockets to hold a pocket watch.

MEN’S DRESS SHIRTS AND COLLARS

Under the vest was a basic dress shirt. These, like modern dress shirts, were light colors of whites, greys and subtle thin striping. Shirt fronts had a starched “yoke” bib front (similar to a modern formal tux shirt) that kept the shirt smooth and flat under the vest and suit jacket.Collars could be high stand, wing tip, pointed or round club collar. The beginning of the decade had men in stiff starched tall collars that gave way to soft flexible collars after the war. Round club collars are my favorite for this time period. They were usually detachable, made of linen (or rubber) and white, always white.

MEN’S OUTERWEAR

Duster coats were born during the new motor car age, adopted first by young college men. They were ankle length with side buttons, doughboy collars in lighter colors: white, light tan, and lemon from gabardine, twill, duck and Palm Beach fabric.Overcoats were mostly the same styles as the 1900-1909 decade. Chesterfields, ulsterette (an Ulster with narrower lapels and collar), Inverness cape coat (Sherlock Holmes type), and wool trench coat. They were very heavy with wide lapels and a long hem that started at the and ankle settle up to mid-calf for most of the decade. The new fashionable coat was just below knee length in the same classic style but made of light wool. A black velvet collar made them look more formal and stylish enough to pair well with business suits. Most overcoats were made of wool, melton, or Chinchilla (a weave not the animal.) Heavy winter coats were usually lined in animal fur such as seal for the rich and sheepskin for everyone else. All fur coats were made of anything from raccoon to rabbit or bear.A rubberized raincoat or oil cloth coat did a better job of repelling water. Lumberjacks wore oiled and waxed cotton jackets and pants nicknamed “tin pants” because they were stiff enough to stand up on their own.

MEN’S JACKETS

Gentlemen wore overcoats, working-class men wore short coats or jackets. At the start of the decade, the reversible leather and corduroy double-breasted jacket was a durable and affordable working-class coat. Sheepskin lined corduroy or moleskin jackets coats ranged from waist length to knee length. The Indian blanket plaid mackinaw jacket was a very warm and heavy work jacket. They were worn by working classes but also adopted by athletes and eventually casual attire by all classes in the decades to come.

WOMAN

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ART-DECO ROARDING JAZZ ERA At the dawn of the 1920s, the world was still reeling from the First World War. The conflict, which ended just over a year before the new decade began, had a fundamental and irreversible effect on society, culture, and fashion. Essential to these new styles was a simplicity that had not previously been seen in women’s fashion. Dress historian Jayne Shrimpton writes in Fashion in the 1920s:

This simplicity created the popular tubular “la garçonne” look that dominated much of the decade. Also known as the flapper, the look typified 1920s dress with a dropped waist and creeping hemlines that could be created in economical fabrics. Coco Chanel helped popularize this style and was a prominent designer during the period. Both waistlines and hemlines followed similar, though inverse, projections throughout the decade, as waistlines dropped until 1923 before beginning to rise again in 1928; while hemlines rose until 1926

Evening dresses sometimes still nearly reached the ground, though many of the popular styles followed the hemline trends of daywear While simplicity in construction was key to both daywear and eveningwear, the latter benefited from ornate decoration: beadwork, sequins, and embroidery all helped create the glamorous nighttime looks of the decade

As womenswear valued simplicity in the 1920s so, too, did menswear. Men moved away from starched collars and formal three-piece suits during the day. Instead, they adopted soft collars and one- or two-button suit jackets often worn without a waistcoat as seen in the different styles Pinstripes were popular, as were British wools and English tailoring.

Martin Pel writes that “British men were perceived to be sartorially the most elegant, and fashionable men hoped to emulate the style and heritage of Savile Row and the English elite” The most significant development in men’s fashion occurred in two unique kinds of trousers: the Oxford bags and the plus-fours. Oxford bags grew in popularity around 192425 when undergraduates at Oxford adopted these wide-legged trousers. Though the origin of the style is contentious, it is generally agreed that it derived from the trousers that rowers on Oxford’s crew teams pulled on over their shorts The original style was about 22 inches wide at the bottom, several inches wider than the average men’s trouser leg. Oxford undergraduates began wearing these around the university and soon the style spread. As the style spread, so too did the width of the trouser legs until at one point they reached up to 44 inches wide. The trousers were made out of flannel and came in a variety of colors. They were mostly worn by youths

The other development in menswear in the twenties was the plusfours. Plus-fours developed out of ordinary knickers – short-legged trousers that gather around the knee – and like Oxford bags were a bit baggier version of their precursor. They had four extra inches of material (hence the name) but instead of extending the trouser leg, they still fastened around the knee and the extra material hung over the band, creating the baggy look Often worn with a sweater, plus-fours were popular golf attire, but much like how tennis-wear crept into casual womenswear, this style was also popular daywear for men, as was tennis-wear for men, too.

You can see the casual way men dressed to play tennis, though some still wore ties in 1920

MEN

GREAT DEPRESSION 1930 Fashion Overview

1930s clothing brings to mind bias cut evening gowns in liquid satins and silks, tweed suits, flounces and frills and topped off by a cute beret or tilt hat. 30s Fashion certainly seemed fussier than the 1920s with its relentless ornaments of bows, trims and frills.The 30s saw the birth and rise of ready to wear clothing and the production of cheaper, man-made fabrics.

Fashion was now available to most not just the privileged few and it was beautifully designed, cut and Midi

length

bias-cut

puff

sleeves,

belted

dresses,

waists

and

Holywood

backless,

evening

sleeveless,

gowns-

long

bias-

waisted

sailor

pants

and

sports

clothes-

skirt-like

shorts, striped knit shirts Slouch

hats,

tilt

hats,

seems unfair that the 1930s is almost a forgotten changing eras that take up most of the attention. The 1920s saw a drastic change in women’s lives after and liberation. The 1940s was the opposite of this, where a period of austerity gripped the nation and the 30s began with the Wall Street crash resulting in the great depression and ended with WW2, and is hence seen often in a more negative light.Socio-

collar

winter

coatsOxford

economic changes can be tracked through changes in fashion and style. In the 1920s, Women had more

shoes with perforated

became an outward expressionA bit of HistoryIt

fashion was extremely restricted. In between the two, knit

berets Fur

during this time - as clothes for all classes became

WW1 and was reflected through a period of excess

wide leg beach pajamas Casual

advances and changes in attitude towards design as

decade - sandwiched between two very iconic and life

cut dresses High

‘Decade of design’ and saw many technological a profession. This clearly had an influence on fashion

large yokes or collars Old

made.The 30s was and is still seen by many as the

details

T-strap heels

and

evening

freedom than their mothers due to economic and social change and this was reflected in their simpler and more comfortable clothing. No curves, higher hemlines, a flat silhouette and an emphasis on youth.

The 1930s, represented something quite different. A

1930

more

sophisticated,

grown

up

and

womanly

silhouette influenced by the rise of female designers Madame Vionnet, Coco Chanel and Elsa Schiaparelli.

Silhouette & The Return of the Waist By the end of the 1920s, the waist had returned to its natural position and would stay there for the duration of the decade and hemlines stayed quite low with day wear reaching low to mid-calf. The emphasis on the natural waist was further highlighted by seams just below the bust and strong moulded shoulders in the form of puffed, butterfly or banjo sleeves.

Detailed necklines with ruffles, cowl, collars, ties such as the pussy bow and corsages further emphasised the torso.The Bias CutPerhaps 1930s fashion is probably best known for its invention of the bias cut. This involved cutting the fabric at a 45 degree angle instead of along the straight grain and was introduced by Vionnet. This method allowed the fabric to hug the body naturally by giving horizontal stretch and thus emphasises a woman’s natural shape. The result was draped, sinuous and fluid evening dresses that created the flirtatious and sensuous look which epitomises for many, the iconic 1930s silhouette.

Combine the bias cut with the trend for backless and we are onto something quite daring and risqué, even by today’s standards.

For the back was the new erogenous zone and was emphasised by plunging backlines or slashed backs and adorned with jewellery.But the bias cut extended into day dresses as well and brought exquisitely detailed and intricate pattern cutting techniques. This then developed into irregular hems, tiers, layering and panels often in waves of printed chiffon.

We see these in the surviving examples of 30s chiffon tea dresses that look surprisingly contemporary.1930s prints:- Art deco styles were still popular during this decade and dress fabric of this era reflects this. Fabric prints are an iconic style feature of this time and came in cubism influenced geometric pattern, dots, lettering and even picture prints of popular objects or animals. Colours in print were contrasting but earthy tones in daywear were popular. Eveningwear was often white, champagne or black.

Style icons from the 1930s Wallis Simpson Marlene Deitrich Bette Davis Greta Garbo

Sports Causal:-During the 1930s, sports and outdoor actvities became fashionable. Being fit and healthy was encouraged and this extended into ideas on clothing. This period saw the rise of the lounge pant and wide leg trouser heralding a chic and casual look. Further influences came from sailor and military styles.

Working Girl:-For the first time, women from all socio backgrounds were able to be fashionable.

Cheaper man-made fabrics were available (like Rayon) and new inventions such as the zip were making garments quicker and cheaper to make.

More women were working as industry revived and this saw the rise of the business girl who could afford to dress well. Daywear needed to be functional but it didn’t lose its elegance or femininity. The womanly shape was equally emphasised in work or day wear with cinched waistlines, skirts fitted to the hip and fullness added to the hem via pleats or flared gores.

Fussy blouses in silk, rayon chiffons with ornamental ties and frills were hugely fashionable and are rather OTT to the modern eye but still a beautiful feminine look.

Hollywood Glam:-In need of a boost and some escapism during the great depression, ladies flocked to the cinemas to see what their favourite stars were wearing. The romance and glamour of the cinema was readily exploited by all. You will see many actress endorsements or ‘autographing’ home dress making patterns and in ready to wear catalogues during this time. The imitation of stars is fundamental to understanding the fashions of the 1930s.

Hollywood fashions were anything but understated and because people wanted escapism, they lapped it up.

Since the stock market crash of 1929 and the severe economic depression that followed for most of the 1930s, fashion had been an escape. Looking to the movies, women and men, escaped their difficult daily lives and imagined a care free and very glamorous life in Hollywood. Fashion followed movie stars apparel both on and off the set. Bias cut dresses were modest but feminine.

Men’s wide shouldered suits mimicked the masculine physique underneath.

Rich furs, white paste jewelry, coordinated accessories looked like a million bucks. Fashion did not reflect real life in the 1930s.

The tables turned in the 1940s. WW2 begin in 1939 and fashion took on a new role. Men’s fashion stopped progressing until after the war- a reflection that most men were serving in uniforms instead of enjoying life at home. Women’s fashion echoed men’s traditional clothing with man-tailored dresses, coats and hats.

These new serious looks were not about an idealized life but about supporting the war effort through fashion. A woman’s duty was to take care of the homefront both her household and in jobs previously held by men. He clothing reflected this practical and conservative time where materials were limited, even after the war ended in 1945. It took until the end of the decade for woman to adopt Dior’s New Look that returned women to an ultra feminine silhouette and for men to adopt a relaxed fit in their clothing.

1940

1930s men’s clothing, either for day, sport, or evening were styled to make a man feel “larger than life.”

During the 1941-1945 WWII fabric rations limited cloth to make suits but not style. The Zoot Suit with its bright colors, baggy legs and long jackets was a complete deviation from the norm. However, that trend was only popular with the young, urban men during the war years. Most men chose basic men’s suits that haven’t changed dramatically since the beginning of the century. There were, however, a few features that made a suit style unique to the 1940s.

The war board placed restrictions on men’s clothing just as they did for women. The restrictions were not as dramatic as they were for women. Suit pockets could not have flaps, trousers could not be more the 19 inches around or be cuffed, and suits were sold without vests (waistcoats.) The cuffed look was so popular that men quickly figured out you could purchase longer length pants and cuff them at home. The double breasted suits were forbidden during the war except for formal occasions such as weddings. Most men’s kept their clothing from the 1930s and wore them through the early ’40s war years. Tailors became skilled at repairing or repurposing double breasted suit jackets from the 1930s into single breasted jackets or sport coats. It was a sign of support for the war to be seen in your pre-war suits.

In Britain the clothing restrictions were harsher. Jackets could not have pleated backs, metal zippers or buttons, feature raglan sleeves or have half belts. Zippers in flys, called front fly fasteners, were allowed although button flys were preferred and easier to obtain materials.War time clothing influenced men’s fashion design after the war by coping or modifying uniforms into civilian clothes. Trench coats, bomber jackets, knit undershirts, pea coats, chino pants and aviator glasses all have roots in WW2 military clothing. With so much military surplus available after the war civilians would buy and wear military clothing for several more years. The improvement in machinery, textiles and manufacturing of military clothing made post war ready to wear civilian clothing a booming industry.

The quality and eventually affordability of ready made clothing gradually put local tailors and seamstresses out of business.

MEN

W O M A N

The 1940s were defined by a clean and slim silhouette with a

The United States Production Board put into place ‘Limitation

somewhat military feel. Jackets, blouses, sweaters and skirts

Orders,’ order L-85 governing women’s clothes, which were in

were short and close-fitting, all unadorned and with the

effect until 1946. These restrictions were much less severe than

requisite sharp shoulder pads. Long sleeves were out, dresses

in Europe, but still greatly limited what clothing was to look like.

were casual, and pants and ‘playsuits’ became everyday attire.

The length and width of blouses, skirts and dresses was

Before World War II, Paris was the epicenter of fashion. All of the

restricted, as was sleeve length and hip width. The amount of

new styles originated there. Anonymous American designers

pockets, buttons, pleats and seams was dictated, and most

simply copied the looks coming from France for their wealthy

decorations were not allowed. This came to be known as the ‘no

clientele or for stores. The 1930’s will be remembered for their

fabric on fabric’ rule. The colors of fabrics were set each season

glamour, despite the Depression. Hollywood starlets were

to conserve chemicals, so only a handful of patriotically named

clothed in long, draped and flowing gowns made of satin, crepe,

hues were available. The heels on shoes could only be 1 ½

silk and velvet. Dresses and gowns began to be bias cut,

inches high.

meaning the fabric was cut diagonally, allowing it to cling to

All of this interference resulted in a slim, uncluttered look. Skirts

curves. Coco Chanel brought the day suit into fashion, with a

were shorter and tighter than anyone was used to, and shirts

fitted jacket and a long skirt. Fur was the most wanted luxury

and jackets were plain and practical. As the prices of clothes

item.But after Germany took over Paris in 1940, many of the

soared due to the shortages, they had to last longer and go

designers closed their fashion houses, some fleeing the country.

further. Pieces were extremely well-tailored and the styles

Those that did stay didn’t see their styles leave the country. The

started to work for a multitude of occasions. Although evening-

rest of the world was left to come up with their own styles. New

wear was still made and worn, people began to dress more

York took over, creating a look that was dominated by the war

casually in restaurants and theaters. Versatile separates and

going on across the ocean.

sportswear took over, and women began to wear pants as a

A lot of the materials normally used for clothing became scarce

safety precaution in the factories they were working in.

during the war. Wool was used to make uniforms and coats for the soldiers. Leather was needed for their boots. Silk, normally used to make dresses, undergarments and stockings, was turned into parachutes and waterproof maps. Metal and various chemicals were needed to make just about everything for the war effort.

Home sewing became popular. In Europe fabric could be had for fewer coupons than a ready-made garment. In the United States, pattern sales skyrocketed. Citizens were encouraged to mend old clothes, recycle old fabrics into new garments and combine dresses to make new ones. Pamphlets with titles like ‘Make and Mend,’ and ‘Make It Do Until Victory’ showed women

Civilian

clothing

had

to

resort

to

using

new

materials. Nylon, created by DuPont and introduced in 1938, replaced silk for women’s items until it began to be used for the same purposes as silk for the war. American cotton began to take over as a casual fabric of choice. Wool blends were introduced to save wool for military uses, and the synthetic fabric rayon became the most widely used fabric of the time. A softer, silkier version was used for day dresses, and a thick version replaced wool for suits and coats. ‘Vinylite’ could be used instead of leather, and other forms of plastic were used for all kinds of applications.Aside from breakthroughs in man-made materials, fashions of the day were most affected by the governmental clothing restrictions put in place for the duration of the war. The very silhouette that dominated the ’40’s was a casualty of war. In Britain and elsewhere in Europe, ration coupons for clothing were given out on top of the restrictions, and they didn’t go far. The United States avoided the coupons by putting strict rules in place for manufacturers. The only clothing item that was rationed were leather shoes starting in 1943, and they were only available in black, white, navy and brown.

how to fix and care for their clothes to make them last, and to make them from other household items like blankets and curtains. Here is a book on Make-overs from Coats and Suits.

The plain and functional styles lasted throughout the war. When U.S. restrictions were lifted in 1945 and ’46, women continued to wear their war-time garb. Colors did return to wardrobes, softer and brighter, and skirts got a little bit longer and flouncy. In 1947, Paris designer Christian Dior showed his debut collection, soon to be dubbed the ‘New Look,’ which was the total opposite of the severe styles of the war. The silhouette was soft, an extreme hourglass figure achieved with a corset and bust and hip padding, and the skirts were enormous confections of fabric.The New Look didn’t take off in the United States. Women felt that Parisian designers had acted as though no war had taken place, while they sacrificed their wardrobes for the war effort. However, most were also ready for a change. As soldiers came back, women stopped working and returned to new homes and cars in the suburbs. The economy prospered, and clothing manufacture became cheaper and easier thanks to new methods devised for the war. New York and California remained in the fashion game, and American designers started to be known by name. Eventually women adopted the New Look that would become the style of the ’50s.

E a r l y ‘ 5 0 s l o o k s Women’s fashion in the early ‘50s was inspired by Dior’s “New Look” collection of 1947. He replaced the stiff boxy silhouette of the war era with an hourglass shape that consisted of rounded shoulders, small waists, and full skirts. Dior’s other popular silhouette was the long narrow sheath dress with a high v-neck bodice, slim skirt, and short jacket.One constant of the decade was the roaming waistline. Depending on the look, it was fashionable to have a high waist, natural waist, low waist, or even no waistline. If you’re trying to put together a specific look, try to find photos from that year for waistline inspiration.Other early 1950s looks included long skirts with petticoats, tailored tweed dresses, low neckline and ankle-length dresses in gray, green, blue, purple, or pink.Men’s fashion in the early 1950s still revolved around the three-piece suit.

Jackets were either single breasted with wide shoulders and a low-waisted button or double breasted with long lapels and three buttons.

Instead of a vest that matched the coat, it became increasingly popular to wear vests in complimentary or contrasting colors in materials like corduroy, silk, and velvet.

M i d 1 9 5 0 s s t y l e By the mid-1950s, women’s fashion became more sophisticated, sleek, and slender. The silhouette became softer and straighter with a higher hemline and relaxed waistline.

Evening dresses were popular in medium lengths and were often made of wool chiffon or jersey fabrics. Matching hats and jackets were still common accessories to formal outfits. Casual wear became increasingly popular, with tailored blouses, striped blazers, and tapered slacks in bright colors and plaid or paisley patterns.Casual men’s fashion also gained popularity in the middle part of the decade. Sport coats, shirts, and pants in bright colored jersey or madras fabrics were common summer styles. Suit jackets had two buttons with padded shoulders and elongated notched lapels often in blue, green, gray, and burgundy hues.

Fashion in the ‘50s was influenced by the post-WWII era of the late 1940s and heavily featured newer materials like nylon, acrylic, polyester, and spandex. The end of the war also saw the return of couture fashion designers like Christian Dior, Cristóbal Balenciaga, Coco Chanel, and Hubert de Givenchy who had a major impact in the style of the decade.Overall, 1950s fashion was glamorous, wellgroomed, and put-together, even for more casual stay-athome looks.

1950 L a t e ‘ 5 0 s f a s h i o n Fashion in the late 1950s was heavily influenced by Chanel. Her designs featured short jackets with brass buttons and pockets that were always worn open to display the blouse. Prior to 1957, blouses were often just a necessary part of a suit, but Chanel made them the focal point of her designs. As the decade came to an end, silhouettes began to loosen even more with the sack dress and relaxed fit blouse.

Colors were still vibrant, like yellow, blue, violet, and green, but beige and neutral tones were gaining popularity.By the end of the decade, fashion designers introduced a Continental style suit for men that featured short fitted jackets with narrow lapels and sharp shoulders. Leisure clothes evolved to include khaki and gray slacks, matching sweaters and socks, buttoned sweater vests and cardigans, and bold patterned jackets.

1960s were Bright, swirling colors.

Psychedelic, tie-dye shirts and long hair and beards were commonplace. Woman wore unbelievably short skirts and men wore tunics and capes. The foray into fantasy would not have been believed by people just a decade earlier.It’s almost like the 1950s bottled everyone up so much that the late 1960s exploded like an old pressure cooker. Women were showing more skin than ever before.For the first time in the 19th Century, London, not Paris, was the center of the fashion world. The British Invasion didn’t stop with The Beatles. It swept into all parts of life, especially clothing.But actually, lost in the two extremes is the mid-60s, which I think actually had the coolest style, albeit more subtle. I love the long, slender shapes, the bright colors and the young, London look. I have always wished the Mod style stuck around a little longer.

Although the 1960s are best known as a decade of experimentation, it didn’t start out that way in the fashion world. While there were several important tweaks to the status quo, no revolutionary new ground had been broken.The typical daytime look consisted of a bulbous hat over a high bouffant coiffure, silhouettes with deep armholes an wide sleeves, and a rounded jacket that tapered in at the hem.For evening, the slender look was in. Long-waisted dresses, often with an overblouse, replaced the fitted waistline and full skirt.Contemporary architecture and sculpture were the most prevalent inspirations for fashion designers in 1960. There were also hints of the twenties and thirties with bloused, bias-cut clothes, long straight overblouse and sashed tunics, short skirts, closely fitting hats and exaggerated makeup (especially red lips) and short hair.Culottes, divided skirts and trim trouser skirts were introduced for travel, street wear and evenings at home. Bead and sequin embroidered evening clothes sparkled the night away. The long dress of sequins or crystal beads had replaced the bouffant dress.Skirts got a little bit shorter in 1960. While worn with low-heeled shoes it placed more attention on the leg. Sleeveless daytime shirts placed more emphasis on the arms. Collarless coats, suits and dresses created a long-necked effect. Some dresses had draped cowl backs to intensify the elongated look.The twoor three-piece suit, mix-and-match, was very popular.AdvertisementDesigners embraced opulence, even in the most pragmatic clothing. Such rarities as natural vicuna for suits, brocades at $40 per yard, 24 karat gold lace, Renaissance-patterned metal brocades and cut velvets set against a gold background were all samples from fashion collections in 1960.Plaids of all sizes and colors were heavily favored. Abstract and expressionist art were big influences on printed silk designs. Wools were in style, but had to lightweight. Coat and suit woolens were usually loosely woven and sometimes as porous as lace.Deep, darker colors were the rage in 1960. They especially covered the spectrum between purple, red and green. Colors like like grape, plum, wine red, garnet and olive green. In contrast, neon bright pink was also a very popular color for those looking to make a statement.Furs and hats maintained their popularity, as did fur and seal coats. Evenings turbans of tulle swirled loosely around the head not only gained high fashion acceptance, but were sold in every hat shop.

1960 As a life-long Beatles fan, the 1960s holds a special place in my heart. Add the James Bond movies into the mix, and the broad range of 1960s menswear clothing and I’m in love with this iconic decade.

It’s easy to label something as being iconic, but in the case of the 1960s, it really does deserve it. So much happened during the ‘60s from the civil rights movement; the shocking assignations of Martin Luther King and John F. Kennedy; and of course, the Vietnam War. And that’s before we get on to the male fashion styles which we’re going to cover here. Men’s 60s fashions that emerged out of this changing time, and many which continue to live on today.

The 1960s is often referred to as the Swinging Sixties, perhaps on account of the bell-bottomed pants, which became all the rage towards the end of the decade. As a wearer of these flares myself during the late ‘90s, I can confirm to the garment’s swinging qualities.

During the early ‘60s, men were still dressing quite conservatively, certainly as far as business attire was concerned. I don’t think the sixties really started to swing until at least 1964.For an example of men’s 1960s fashion suits and what men would wear to the office, you need only to look at the television phenomenon, Mad Men, where the first season starts in March 1960.Don Draper, played by the far too handsome Jon Hamm, is the perfect example of how a professional American man would dress.

Rather than opt for an English, European or Italian cut suit, Don Draper (or the costume department) preferred the classic American look, with a single-breasted sack jacket with narrow notch lapels, two buttons and a single-vent in the back. That’s not to say that all men were the same. You only need to look at Don’s more adventurous colleague, Roger Sterling, to see the extra sartorial flourishes that could be enjoyed in the early ‘60s.Don Draper was like a lot of men of the time; a service veteran and keen to present a professional image. As a result, he kept his style of dress very consistent and understated, which is elegant in itself. Especially when you add the typical early 1960s men’s hairstyle of a short back and sides with a side part.Get the outfit: Pair your single-breasted two buttoned suit in a muted color, with a plain textured skinny tie, white dress shirt (with French cuffs so you can wear cufflinks). Add a simple white pocket square folded in your breast pocket, perhaps a tie clip if you’re feeling fancy, and highly polished black Oxford shoes. Complete the outfit with a nice felt stingy Fedora hat on your head and a high-collared tan trench coat and you’ll be in charge of an advertising agency in no time.

1960S IVY LEAGUE GUYS: MIDDLE-CLASS MAINSTREAM

Despite first originating in the ‘50s (see our 1950s menwear article), the Ivy League style remained popular until at least the middle of the 1960s.One of the poster boys for the Ivy League look was the 35th President of the United States, John F. Kennedy.It’s refreshing, even now, to see a world leader looking so effortlessly stylish.Usually, when politicians try to dress down to appeal to the public, it can look forced and awkward. But if there’s one thing JFK could do with aplomb was laidback sophistication.Of course, JFK could dress formally when the situation demanded but he looked incredible in the Ivy League menswear staples.

The demise of guys hats is often blamed on JFK as he didn’t wear a top hat for his inauguration ceremony (JFK was actually pictured wearing one on the way to the ceremony, but he did remove it before addressing the crowd). In truth, hat sales were already in decline before JFK’s inauguration speech. It was most likely a natural progression, during what was a very progressive decade, where non-conformity became more encouraged as the decade got underway.

1960S BRITISH MOD: DEDICATED FOLLOWERS OF FASHION

Over in Britain, young male adults were looking for a way to stand out and be different, led by the legendary British guitar band, The Who and Brian Jones from The Rolling Stones. Influenced by the Ivy League look across the pond, they combined this with Italian fashions and the attire worn by movie stars such as the King of Cool, Steve McQueen Calling themselves Modernists or Mods for short, this youth sub-culture favored slim-fitting tonic and mohair suits with narrow pants and lapels, along with polo shirts, Oxford button-down shirts, chinos, argyle socks, Madras plaid shirts and penny loafer shoes. They also turned to the military surplus stores for unissued M51 US army parkas to protect their clothes while racing around London on Lambretta or Vespa Italian scooters.

Popular 1960s styles for men were suede lace up oxfords, monk strap shoes, penny loafers, Chelsea boots (Beatles shoes), western boots, chukka boots, retro sneakers, and leather sandals. Most men’s dress shoes and boots had a high shine to go with the plastic age. Pointy toe or square snub toe shoes made classic oxford shoes look new.

1960S BEATNIK BOYS: WEAR IT BLACK

The Beat Movement was a popular youth subculture, attracting those with a creative disposition such as poets, writers, artists and musicians. The beatnik style was about dressing in a very simple and understated way.Similar to the Ivy League look, the beatnik style also came to life in the ‘50s but it was the ‘60s where it really began to dominate.Particularly popular in New York, Bob Dylan and Andy Warhol were the two beatnik poster boys, while The Beatles also became fans of the look with their turtleneck shirts.

The beatnik style had a romantic allure and appealed to those that desired a more bohemian lifestyle, perhaps as a result of a strict upbringing.

1960S MALE HIPPY: FLOWER POWER As the decade progressed further, the hippy movement sprung out in response to the opposition to the Vietnam War. Antiestablishment, anti-war and anti-violence, it had an ‘anything goes’ philosophy, with ideals including free love. Everything got bigger and longer; hair, collars, pant legs, and far-out psychedelic patterns.The constantly evolving Beatles could be considered early leaders of this movement with their musical masterpiece, Sergeant Pepper’s Lonely Hearts Club Band. Released in June 1967, at the beginning of what became known as the ‘Summer of Love’, it captured the mood rather well. Musical legend, Jimi Hendrix was another exponent of this style, embracing outrageous patterns and prints, scarves, bell-bottomed pants to create a truly distinctive image

London’s Carnaby Street became the happening place to go and pick up some groovy clothing where velvet jackets and frilly shirts were the order of the day.The BeatlesThere was a big eastern influence for 1960s hippies, with Kaftan jackets, Indian prints and other ethnic fashions being worn.The movie Easy Rider became the anthem for the hippy style when released in 1969, as people got set to roar into the 1970s.Get the outfit: There are lots of 1960s menswear clothing for sale if you can spare some time to rummage in vintage and thrift stores. As well as a longer hairstyle, you will need a shirt with large collar in a crazy print or pattern. Flared pants are now the favored choice to cover your legs and on your feet should be a pair of Cuban heeled boots. Have fun adding a mix of loud colors and accessories where the rule book is torn to pieces and ‘anything goes’.

“The year 1970 was a year with no predominant look. Walk a block or so on any big city street, you’de see women wearing Indian block-print bedspread dresses, tight tie-dye T-shirts and hip hugger jeans, afros, boots that hooked up the front, long calico dresses, rose-printed black-challis dirndl skirts, maxi coats, and microminis.”

1970

The 1960s fashion style was still in effect with rebellious hippies and unconventional mods fighting it out in department stores. Short skirts paired with long coats and long skirts paired with short vests. The decade couldn’t decide what direction to take or what past decade to emulate.The mods were reviving the 20s flapper look with cloche hats and shift dresses.

The hippies turned back to the Victorian age of handmade modest LiveOff-the-Land peasant clothes. Mature women favored ’40s and ’50s classics. Seventies fashion was a mish-mash, a bit of everything for anyone who had an opinion about fashion.In the end, comfort and casualness won the 70s fashion battle. All looks fought it out over the decade adapting the mod style into a less plastic, simple ease and the hippie look into a tailored chic. Both turned to the use of color; brights for the mods and earth tones for the hippies. As well as bold patterns. Paisley? Lots of paisleys!The idea that 1970s fashion was an expression of one’s personality replaced the everyone-follow-the-famous trend of the ’50s and ’60s. Clothes were made to mix and match with each other as well as across gender guidelines. Whether the combinations made any sense was another matter. While most fashion history books and online articles focus on 70s fashion sub-cultures (luxury, punk, cowboy, hippie, exotica, soul) this one explores what the typical women wore in the 1970s. The housewives and working women in small towns and urban cities had fashion trends that looked a little different than what mainstream media displayed

Granny dresses, hippie dresses – midi and maxi length Edwardian inspired lace trim prairie dresses Shift dresses – short mod dresses to knee length shirtdresses Peasant blouses, tunic tops, funny t-shirts/ band shirts Bell bottom pants and jeans called flares or loons, wide-leg palazzo pants Homemade and decorated clothing – patches, fringe, embroidery Pantsuits with silk bow blouses and blazers worn to the office Jumpsuits could be worn as casual wear, eveningwear, or for disco dancing Denim everything- pants, jumpsuits, dresses, skirts, jacketsLong knit vests layered over tops and pants Vintage 1920s jewelry and accessories revival

70S JACKETS, COATS, CAPES

Women’s coats started out with big plaids in long or knee-length trench styles. The trench coat and wrap coat remained in style most of the decade but in lighter pastel and ivory colors. Heavy tweeds, boucle, and tapestry came into fashion and the beginning and end of the decade too. Lengths shorted up to double-breasted pea coat or blazer jacket. The midlength leather wrap jacket was a trendy favorite as well as the teddy coat, a faux fur-pile boxy half coat.

The vinal plastic raincoat or slicker with matching bubble umbrellas in bright mod colors or clear plastic continued into the decades as well. Many 70s coats are back in style for 2018-2019. Long suede jackets with fur trim. Shearling lined denim jackets. Teddy coats, embroidered coats, and fringe trim coats are all part of the hippie boho revival. There are also many vintage style long coats in rich earthy tone making a comeback this year

shoes

The early 70s fad was for clunky platforms shoes. They were first seen in the late 1930s but revived in the ’70s quest for nostalgia. At first, the platform was a modest 1 inch sole similar to late 40s shoes. Soon the sole grew to 2 or 3 inches with a 5 inch heel. The platform found their way onto oxfords, sandals, and boots. These clodhoppers look the wiggle out of walking in mini skirts making them feel a little less obscene. They looked best with flared jeans or pants.Shoe designers personalized platforms for different fashion audiences. Decorated with studs or rhinestones they made Pop stars pop on stage.

Mainstream designs featured patchwork, embroidery, leather or painted art. With high ankle straps and fruity colors- peach, yellow, pistachioeven plain platform shoes were a pop of color against a neutral outfit.

Clogs Wedgé heels Chunky square heeled shoes Vintage dancing shoes Boots Birkenstock sandals Granny boots

1970S DRESSES

The mini shift dress, jumper dress, drop waist dress and tunic dress were still trendy dress styles in the early 70s. Sleeveless jumper dresses were worn over short or long sleeve shirts in winter with high knee socks. Drop waist shift dresses and button front sheath dresses gave a nod back to the 1920s flapper era.This time they were made of polyester double knits that were stiff enough to withstand wrinkles and staining. It was the perfect material for the age of low-maintenance fashion and big bold colors. Many dresses had oversized collars and some started to sport hippie prints in yellow, green, and orange flowers or paisley swirls. Colors ran the full spectrum. Jewel tones in fall/winter, pastels, and white in summer. White was an especially popular color for everything from dresses to hats, handbags to shoes. Both daytime and evening, especially evening, turned to white as the hottest color of the ’70s.By 1973 dresses were looking more like ’40s and ’50s fashion with A-line or pleated skirts and button down tops. Simple one-piece dresses with a belt, cap sleeves, and swingy skirt or the two piece tunic blouse, skirt and tie belt made up most casual ’70s dresses.Many winter dresses came in the button up shirtwaist style with long bishop sleeves and matching belt. Necklines were still quite modest. Pussy bow neckties, small slits, mandarin collars, and large fold-out collars added variety without exposure. In the final years, the drawstring neck and waist belt along with a hemline that dropped to a few inches below the knee loosened up dresses even more.

70S PANTS & JEANS

Women’s pants in the 70s had more diversity than the previous two decades combined. Some were waist high and wide leg while others were hip huggers with only a flared leg. Some were tight cigarette fit, straight leg, or very baggy. Some had cuffs, some didn’t. For most women, wearing cotton or polyester knit high waisted and wide leg pants in pastel colors paired with a tunic top, button-down blouse, or snug knit shirt was a daily fashion. Simple and comfortable, pants dominated most of the 1970s for both day and dressy evenings.Dressy pants were inspired by the ’40s with a wide but straight leg and big pleats at the top for comfort. Palazzo pants built on the wide leg pant trend and doubled it with even more fabric that flowed like a skirt. They were best when worn while hosting an evening house party. Plain colors, as well as big floral prints, made these pants a dramatic statement. It was the blue jean that became the uniform of the 70s. Blue jeans were worn all day, all night, all styles. At first, the designers tried to get women to wear other kinds of pants but women refused to give them up. Instead, new designs were introduced each season giving women an excuse to purchase a few more pairs and upcycle the old ones. In the early 70s, blue jeans that were used or pre-bleached were favored over anything new. Adding contrast stitching, studs, and patches to denim was a creative way to make them unique. Jumpsuits were a stretchy adaptation of overalls. Using the restroom in them was precarious. During the day the jumpsuit was made of double knit polyester, cotton or denim with a zip or button up front, pant pockets and oversize collar. The denim jumpsuit with a zip up front revived the overall look. Evening jumpsuits slimmed down the look into a stretchy bodysuit with a sleeveless or halterneck top.

WOMEN’S PANTSUITS

Since a record number of women were entering the professional workspace predominantly held by men, women felt a need to dress-for-success in menswear-inspired trousers, shirts, and jackets. Diane Keaton’s gender-blending role and wardrobe in Annie Hall inspired a new look for the office. The era of women’s pantsuits, although not knew, exploded on the market. Man-tailored blazers were worn over a vest and pussy bow tie blouse with wide trousers and pointy toe boots. Add to it men’s style button down dress shirts, matching suit vests, big hats, flat shoes and glasses the look became a new style for intelligent yet trendy women everywhere. Pantsuits came in rich colors like burgundy or dark green in winter and pastels or white in summer. The pantsuit was softened with a silk blouse and a loose bow tie instead of a necktie. An oversize collar blouse was another option that mimicked men’s dress shirts. In the early years, blazers contrasted the pants and blouse with bold plaids and checks.

Towards the end, they matched into one uniform suit and came in traditional men’s suiting material and patterns such as pinstripe.Professional skirts and dresses were alternative to pants. Colorful floral prints or solid silks with a modest neckline and a coordinating blazer worn on top could be alternated with dressy pants. Skirts were below the knee A-line, maxi, or pleated solids. This was the uniform professional women.

Secretaries and assistants instead wore the same casual, girly styles worn after work and weekends.

70S SKIRTS

Outside of the office women’s casual skirts came in every length from the micro mini to a floor-length maxi. The mini skirt was a carryover from the 60s, still worn by teens and young women until 1973 when skirts dropped to the floor for the first time since the turn of the century. The most popular length and styles were the straight or pleated knee-length A-line skirt. They were roomy around the hip and legs yet often had a partial or full elastic waist for comfort in the middle. These grew longer at the end of the decade when the midi length peasant skirt came out of the hippie movement and into the mainstream. Long peasant or granny skirts offered an alternative to the mini and midi skirt craze. They swept the floor with a full flowing circumference. They were prone to catching on doors, escalators, cars, and shoes. The St. Topaz skirt built on the granny look with J shaped gores in alternating fabrics in 1973. Many hippies turned to make denim skirts out of blue jeans by opening up the inside leg seams and stitching them back together. Gores of fabric could be added as well as lace and embroidery trim.

70S SHORTS

Like skirts, women’s shorts came in a few lengths. The shortest both in length and fad were hot pants. They were very short shorts in bright colors of satin, cotton, nylon, denim or velvet and oddly enough worn in winter more than summer. They had an inseam length of only two or three inches but they come up to at least belly button level for that retro high waisted look. They looked very European chic paired with tall boots and bright tights. Adding a long wide-lapel blazer made them somewhat more work appropriate. They were a short-lived fad beginning and ending in 1971 In general, shorts fit high on the waist, tight and flat around the hips, and straight through the leg. Large flap pockets, zip pockets mimicked the safari look. Some denim jeans featured a frayed/cut off edge

70S SHIRTS, BLOUSES & TOPS

70s blouses were conservative button-down styles with oversized point collars. Polka dots, paisley, floral, and solids made into blouses with big pussy bows or small bow ties at the neck. Long sleeves featured the wide dolman shape or straight sleeves with a balloon wrist. Silk blouses were finally (more) affordable than they have been before WW2. Women saved and splurged on this natural fiber otherwise they work silk-like synthetics which were hot to wear. Sexy blouses had a very low v-neck, something wandering eyes hoped would reveal some cleavage. Since many small chested women didn’t wear bras this wasn’t an uncommon occurrence.

1980 WOMAN

The early 80s were somewhat subdued in color, where we see a lot browns and tans and oranges. Blocky shapes were everywhere and dressing like a tennis player was the cool thing to do.Velour was hot and velvet was even hotter. For both men and women, the waistline was a little high.But let’s face it, early 1980s fashion was very similar to the late 1970s. In 1983 there was a slight 1950s-style throwback, especially in women’s dresses.By the mid-80s, pop music stars like Cyndi Lauper were ushering in an entirely new style — one that many people associate with the 1980s to this day.

1980s fashion can be commended for its creativity. Some fashion designers abandoned history, some borrowed from it, while others tried to design the future. Designers abandoned all convention — and their creations were interesting to say the least.

Bright colored accessories like sunglasses, bangles and hoop earrings were a necessity. Teased hair, loud makeup and neon were an important part of this style. This style was obviously more popular with the younger crowd.But that didn’t mean “regular” women in the 1980s couldn’t have fun. It was an exceptionally flexible time when a woman could wear skin-tight cotton stirrup pants with leggings and a giant turtleneck sweater one day — and parachute pants with a small v-neck top and a high-waist belt the next.AdvertisementSociety’s love for brand was epitomized by its inexplicable love for wearing Coca-Cola brand clothing in 1987. MTV had a huge impact on fashion, as teens across the U.S. were tuning in to watch music videos starring wildly dressed celebrities. Suddenly it became much easier for a fad to spread across the country faster than wildfire.

By the late 80s, Nike had grown into one of the most profitable clothing companies in the world. Like Coke vs. Pepsi, Reebok vs. Nike was the athletic wear battle of the decade.

With the help of Michael Jordan, Nike won the war. In 1988, every kid had to have a pair of Air Jordans and a Chicago Bulls baseball cap.

If you ever hear someone talk about “Cosby sweaters”, they are referring to sweaters that were most popular in 1989. By then, women’s clothing had gotten considerably more baggy as women clamored for styles that hearkened back to a more conservative time.The best example of late-1980s for boys is Zack Morris (Mark-Paul Gosselaar) from Saved by the Bell. One look at a 1989 catalog feels like a glimpse into the troublemaking teen’s bedroom floor.

Athletic clothing

In the early 1980s, fashion had moved away from the unkempt hippie look and overdressed disco style of the late 1970s. Athletic clothes were more popular than jeans during this period, as were more subdued colors. Popular colors were black, white, indigo, forest green, burgundy, and different shades of browns, tans, and oranges. Velour, velvet, and polyester were popular fabrics used in clothes, especially button-up and v-neck shirts. Looser pants remained popular during this time, being fairly wide but straight, and tighter shirts were especially popular, sometimes in a cropped athletic style. The general public, at this time, wanted to wear lowmaintenance clothing with more basic colors, as the global recession going on at the time kept extravagant clothes out of reach. Also worn were striped tube socks sometimes worn with the top folded over worn with shorts. It was not uncommon to see parents especially fathers wearing these along with their kids.Popular clothing in the early 1980s worn by men includes tracksuits, v-neck sweaters, polyester and velour polo-neck shirts, sports jerseys, straight-leg jeans, jeans rolled to show off their slouch socks, polyester button-ups, cowboy boots,beanies, and hoodies. Around this time it became acceptable for men to wear sports coats and slacks to places that previously required a suit.In the UK, children's trousers remained flared, but only slightly. Popular clothing in the early 1980s worn by men includes tracksuits, v-neck sweaters, polyester and velour polo-neck shirts, sports jerseys, straight-leg jeans, jeans rolled to show off their slouch socks, polyester button-ups, cowboy boots, beanies, and hoodies. Around this time it became acceptable for men to wear sports coats and slacks to places that previously required a suit.In the UK, children's trousers remained flared, but only slightly.

Athletic clothing

From the early to mid 1980s, post-punk and new wave music groups influenced mainstream male and female fashion. Commercially made slim-fitting suits, thin neckties in leather or bold patterns, striped T-shirts, Members Only jackets, clubwear, metallic fabric shirts, cat eye glasses, horn rim glasses with brightly colored frames, androgynous neon colored makeup,[42] and pristine leather jackets were widely worn.[43] Common hairstyles included a short quiff for men, or teased big hair for women, and typical unisex colors for clothing included turquoise, teal, red, neon yellow and white on a blue screen.

MEN 1980s fashion placed heavy emphasis on expensive clothes and fashion accessories. Apparel tended to be very bright and vivid in appearance. Women expressed an image of wealth and success through shiny costume jewelry, such as large faux-gold earrings, pearl necklaces, and clothing covered with sequins and diamonds. Punk fashion began as a reaction against both the hippie movement of the past decades and the materialist values of the current decade. The first half of the decade was relatively tame in comparison to the second half, which is when the iconic 1980s color scheme had come into popularity.Hair in the 1980s was typically big, curly, bouffant and heavily styled.

Television shows such as Dynasty helped popularize the high volume bouffant and glamorous image associated with it. Women from the 1980s wore bright, heavy makeup. Everyday fashion in the 1980s consisted of light-colored lips, dark and thick eyelashes, and pink or red rouge (otherwise known as blush).[5][6]Some of the top fashion models of the 1980s were Brooke Shields, Christie Brinkley, Gia Carangi, Joan Severance, Kim Alexis, Carol Alt, Yasmin Le Bon, Renée Simonsen, Kelly Emberg, Ines de la Fressange, Tatjana Patitz, Elle Macpherson, and Paulina Porizkova.

Preppy look

In response to the punk fashion of the mid-late 1970s,[9] there was a throwback to the forreston Cards 1950s Ivy League style.

This revival came to be definitively summarized in an enormously popular paperback released in 1980: The Official Preppy Handbook. Popular preppy clothing for men included Oxford shirts, sweaters, turtlenecks, polo shirts with popped collars,[9] khaki slacks, argyle socks, dress pants, Hush Puppies Oxford shoes, brogues, suspenders, seersucker or striped linen suits, corduroy, and cable knit sweaters that were often worn tied around the shoulders

In 1990, recession-weary shoppers chose to spend money on clothes that would stay in style as long as possible. That meant that the wild shapes and colors of recent years needed to be toned down.The jacket remained the key to daytime dress. A trend setter in the jacket trend was Chanel, who introduced loose versions of the famous Chanel jacket slit vertically at the hem. Some were bright colors like hot pink, tangerine and white. Other leaders were Giorgio Armani, and Calvin Klein.The biggest difference in 1990 fashion was an explosion of color, with alarming arrays of bright yellow, orange, red, purple and green. Neon bright colors could be obvious as the primary color of a pair of pants — or they could be subtle as the color of a pair of shoestrings.Brocade, embroidered satins and laces were important, but the most popular style of eveningwear was the slender black dress, worn quite short with black stockings and high-heeled shoes.

In the winter of 1990 the short, swingy coat was worn in full force. Women loved how racy the coat looked over short skirts. Casual styles, such as anoraks and parkas were prominently seen in cold-weather climates.A revival of the interest in made-to-order clothing occurred in 1990 when women realized that it wasn’t more expensive than ready-to-wear clothing.

This surprised many fashion analysts and drew other designers to New York City, following the success of Arnold Scaasi.

grunge In early 1994, the “grunge” style had completely taken over the American fashion world. A style derived from clothes worn by Seattle rock musicians, grunge was an assortment of jackets, vests, sweaters, skirts, scarves, and footwear that resembled hiking boots.Marc Jacobs developed a grunge collection. Gianni Versace did too, but women found themselves hard pressed to pay designer prices for what they thought resembled secondhand clothes. While grunge remained popular with the younger crowd in 1994, women over 30 were unimpressed.By the end of 1994, women were wearing high heels and dresses made of satin, metallic or other high shine fabrics. Feathers and fringe, beads and sequins adorned clothes that hugged the body. 1972 glam was back!Comfort persisted in the clothes women wore in their downtime. Tights made of spandex, tshirts and loose sweaters dominated the weekend.Women still found the suit to be the most useful way to dress for the increasingly faster-paced modern world. Giorgio Armani figured out ways to tailor clothes that both men and women loved.As Yves Saint Lauren found out, using real fur was an invitation for passionate protests from animal rights activists. During his first visit to the U.S. in 12 years, he was greeted by angry picketers who took issue with the fox trim on his jackets that were on display at a New York City Saks Fifth Avenue store.

Casual clothing

Continuing on from the late 1980s, many young men in the UK and Europe wore tapered and cuffed high waisted jeans with matching denim jackets, Champion brand, Stone Island or Ralph Lauren sweatshirts, polo shirts with contrasting collars, short Harrington jackets, grey Tommy Hilfiger sweaters with prominent logos, oversized Guess denim shirts, brightly colored windcheaters especially in yellow or green, Hush Puppies shoes, V neck sweaters, soccer shorts, white athletic socks worn with black or brown loafers, triple striped tube socks usually folded over at the top, pastel colored three button sportcoats, graphic print T-shirts, tracksuit tops with a vertical contrasting stripe down the sleeve, sweatpants, bomber jackets, pale denim drainpipe jeans as worn by Ewan McGregor in Trainspotting, shiny red or blue rayon monkey jackets, grey or tan leather jackets with shoulder pads, and wool baseball jackets with contrasting sleeves. Short shorts were popular in the early years of the decade,but were replaced with looser and baggier basketball shorts after 1993 when hip-hop fashion went mainstream.

1990

Fashion in the 1990s was defined by a return to minimalist fashion, in contrast to the more elaborate and flashy trends of the 1980s.

One notable shift was the mainstream adoption of tattoos, body piercings aside from ear piercing and to a much lesser extent, other forms of body modification such as branding.In the early 1990s, several late 1980s fashions remained very stylish among both sexes.

However, the popularity of grunge and alternative rock music helped bring the simple, unkempt grunge look to the mainstream by 1992. The anticonformist approach to fashion led to the popularization of the casual chic look that included T-shirts, jeans, hoodies, and sneakers, a trend which continued into the 2000s.

Additionally, fashion trends throughout the decade recycled styles from previous decades,notably the 1950s, 1960s and 1970s.Due to increased availability of the Internetand satellite television outside the United States, plus the reduction of import tariffs under NAFTA, fashion became more globalized and homogeneous in the late 1990s and early 2000s.

Early 2000s fashion

Technology and Y2K had a huge impact on fashion in the early 2000s. The color palette was filled with shiny black tones and reflective metallics. While some Y2K trends were worn daily, many of these looks were reserved for going out. Popular outfits for women included mesh or handkerchief tops, box-pleated or leather skirts, shiny pants, and sparkly shoes. For men, Y2K looks usually involved leather jackets, a statement dress shirt, and chunky shoes. If you need inspiration, Britney Spears and *NSYNC were trendsetters for this type of style.Casual clothing and leisurewear were the other big trends of the early 2000s. Denim became a staple for men and women, going beyond jeans to shirts, jackets, and hats. If you’re putting together a casual style for women, think crop tops, hoodies, low-rise flared jeans, cargo pants, daisy dukes, jean skirts, off the shoulder tops, ribbed sweaters, with platform sandals, Ugg boots, or sneakers. Common looks for men included, distressed denim, cargo pants, tracksuits, rugby or polo shirts, flip flops, oxford shoes, and sneakers.

Mid 2000s fashion

As the decade went on, 2000s fashion began to take cues from 1960s bohemian looks. Yoga pants, low-rise jeans, cowl-neck shirts, peasant tops, capri pants, cropped jackets, and dresses over jeans were popular outfit choices for women. These were often paired with accessories like chunky belts, aviator sunglasses, jelly bracelets, ties worn around the neck or as belts, ballet flats, and platform boots.The 1960s revival looks were also popular with men. Outfit options included light wash bootcut jeans, cargo shorts, classic rock t-shirts, fitted cowboy shirts, henleys, polos with popped collars, and seersucker suits.The middle of the decade was also defined by the latest "it" items, like Von Dutch trucker hats, Juicy Couture tracksuits, and Louis Vuitton bags.

Late 2000s fashion

Many styles from the early and mid-2000s carried over to the latter part of the decade, with a few exceptions. For women, crop tops were replaced with camisoles and miniskirts gave way to babydoll, bubble skirt, and sweater dresses. There was also a 1980s and 1990s revival that reintroduced neon colors, animal prints, geometric shapes, light denim jeggings, and ripped acid washed jeans that were worn with gladiator sandals, ballet flats, and headbands. An oversized look started to gain popularity, but it was subtler than the traditional ’80s fit.Men’s late 2000s fashion was a mix of 1950s and 1980s throwbacks, with letterman and black leather jackets, overcoats, slim cut jeans, Ed Hardy t-shirts, flannel shirts, and V-neck sweaters. These were often paired with dad hats, wayfarers or aviators, motorcycle boots, Converse, Vans, or sneakers. The men’s power suit was also updated from the ’80s to have more a slim tailored cut.

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hip-hop

Many rappers influenced fashion with their own clothing lines in the 2000s, including Jay-Z, Diddy, Nelly, and 50 Cent. Many looks included baggy jeans, tall t-shirts, sports jerseys, velour suits, bubble jackets, and puffer vests paired with headbands, sweatbands, Timberland boots, and sneakers like Adidas Superstars or Nike Air Force 1s.

streetwear

Streetwear is often brand focused casual clothing, like jeans, tees, and sneakers. In the late 2000s, popular streetwear styles included distressed skinny jeans, loose fitting tops, loose or fitted tracksuits, track pants, hoodies, graphic t-shirts, vintage thrift shop tees, and Tommy Hilfiger and U.S. Polo Assn. brands. Sneakers were an important part of the look, especially retro Nike Air Jordan’s and Adidas Yeezys.

Shoulder bags were also a popular accessory for men.

emo

Emo fashion trickled into the mainstream in the mid-2000s and took cues from goth and punk styles. Outfits were often all or mostly black with skinny jeans, band t-shirts, studded belts, and checkered Vans. No emo outfit was complete without the right hairstyle, most common were choppy cuts with long side-swept bangs dyed black, platinum blonde, or a bright color.

Athleisurewear

If you wanted to be comfortable yet fashionable in the early 2000s, all you had to do was throw on your favorite tracksuit. Everyone from Britney Spears to BeyoncĂŠ and Eminem to Diddy were in on the tracksuit craze. They were often brightly colored and emblazoned with rhinestone logos and phrases.It was also popular to mix track pants with dress clothing and designer shoes to elevate the look.

C O M P A

R I S O N

detachable collar A detachable collar is a shirt collar separa te from the shirt, fastened to it by studs. The collar is usually made of a different fabric from the shirt, in which case it is almost always white, and, being unattached to the shirt, can be specially starched t o a hard cardboardlike consistency.

Some believe that Hannah Montague invented this collar in Troy, New York, in 1827, after she snipped off the collar from one of her husband's shirts to wash it, and then sewed it back on. The Rev. Ebenezar Brown, a businessman in town, proceeded to commercialize it. The manufacture of detachable collars and the associated shirts became a significant industry in Troy.

It was later that the benefit of being able to starch the collars became apparent, and for a short time, various other parts of the shirt, such as the front and cuffs, were also made detachable and treated to rigid stiffness. As more emphasis started to be placed on comfort in clothing this practice declined, and the stiff collar is the last surviving use of such heavily starched cotton in daywear; while a full dress shirt (worn with white tie and occasionally black tie) still has a stiff, but attached, front and cuffs to accompany the stiff detachable collar.

The collar is attached to the shirt by a pair of studs like those shown. The shirt has a tunic collar, a short upright band of fabric with a hole at the back and one on each side at the front. The stiff collar is attached at the back before the shirt is donned (and the tie placed under the collar for a turndown collar), then the shirt is put on, after which the front stud is pushed through the collar to fasten it.Detachable collars are often used by barristers in the UK, Ireland and Canada, many of whom wear a winged collar when in court to allow the use of bands. On the way to and from court, a turndown collar and tie is worn. Another common use of detachable collars now is a clerical collar (or "Roman Collar"), though these are now often made from flexible plastic for ease of washing, and are not always now attached in the traditional way with studs. Also, at Eton College, all pupils wear stiff collars, mostly turndown collars, while students in positions of authority wear 'stick-ups', which includes a wing collar.

Using a detachable collar

Outside these situations, detachable collars are less common. Stiff collars in particular with daywear in the 21st century are generally rare, but if one is worn, it is usually a turndown collar, though morning dress is seen still with a wing collar. Older styles, such as the imperial collar (a high collar with no wings last popular with the Edwardians), are not frequently seen now. A more common use of detachable collars is with eveningwear, in which case a high wing collar is worn in America although turn-down collars are preferred for black-tie in Britain as per Edward VIII.To starch a collar, it must be rinsed in boiling water to remove any starch, then laundered as normal. After soaking in a concentrated warm starch solution, it is left until nearly dry, then ironed until hard. While ironing, the shape is added by curling, or using a collar press.

removable Vibram sole leather shoes feature a round toe, a front lace fastening and a low block heel. A chunky moulded rubber sole can be added to the base of this formal shoe so that it becomes a sneaker.

First debuted during its Fall/Winter 2019 runway show, Matthew M. Williams and 1017 ALYX 9SM’s contemporary take on the classic Derby silhouette aptly revitalizes the classic salaryman footwear by means of a specially-designed removable Vibram sole.In line with Williams’ collaborative Nike Free TR 3 SP sneaker, the newly released Lace-up Leather Sneakers from the designer’s riotous imprint features black leather in a smooth grain finish. Upon viewing the lacing system, a unique cut-out and underlay add to the shoe’s contemporary style, with more unique paneling viewable towards the shoe’s heel. Moving down the shoe, the chunky rubber sole can be seen doused in black and red, with contrasting high-shine panels featured on the heel portions. As is usual with the imprint, minimalistic branding has been employed, with the only visible logo being featured on the all-leather insole.

1017 ALYX 9SM Black Lace-Up Leather Sneakers removable sole

SIMILARITY

both have features that are made to provide versatility in one item they were both an article of clothing

DIFFERENCES

on the collar to dress casual collar can be removed but for shoes to dress casual sole must be installed to eliminate the impression of formal shoes one in the shape of a collar and the other in the form of shoes

Victorian Era Tea Tradition and Tea Parties Afternoon Tea

GILDED

During the time of Queen Victoria, there was a lady in waiting, Anne, the Duchess of Bedford.

The meals in England consisted of a huge breakfast, slightly lesser lunch and dinner. After lunch, the duchess would ask her maids to get her some tea and little cakes to go with it.She drank it in solitude at first. But later, she began inviting her friends and other ladies to join her in partaking of this brew. This became so well liked that the duchess carried on with tradition even after going back to London. Hence, the institution of afternoon tea was established.The drinking of tea led to the birth of a thing beyond a mere habit or addiction. It became a culture. Tea rooms mushroomed all over the place, private teas and teas in hotels were in demand. Tea dances were held as meeting place for potential match making and also so that young men and women could interact with each other.

Seeing this, other ladies began emulating her and very soon, they were all being invited and in turn inviting women for afternoon tea. This practice has been established as a social custom in most parts of the world today.There were two kinds of tea services, namely, high tea and low tea. The upper echelons of the British society took Low tea. This meant that the tea was accompanied by small snacks and not proper food. Low tea meant more conversation and less food. In contrast to this, the high tea was partaken by the lower classes of the British society, which was accompanied by a proper lunch.The practice of drinking tea, during the Victorian era was interspersed with garden teas and promenades around the estates. Social dictates were relaxed slightly in these gatherings. Tea helped bridge the divide between genders and different parts of the society to a small degree.Funnily though, initially, the expression taking tea was only employed by the lower strata of the society and looked down upon by the wealthy aristocrats and the royals. The latter part of the Victorian era saw the industrial revolution take off in full swing. The workers, after coming back home tired, would want something refreshing and light. They would be hungry as well, so bread, meat, fruits and vegetables were also served along with the tea. Hence the term, High tea was coined then.

What Is an Afternoon Tea?

Afternoon tea is a British food tradition of sitting down for an afternoon treat of tea, sandwiches, scones, and cake.

Afternoon tea is served around 4 p.m. When afternoon tea became fashionable in the early 19th century thanks to the Anna, the Duchess of Bedford, it was never intended to replace dinner but rather to fill in the long gap between lunch and dinner at a time when dinner was served as late as 8 p.m.

Lifestyles have changed since those times and afternoon tea is now a treat, rather than a stop-gap.

The working lives of many do not allow the time to sit down to enjoy scones and cakes in the late afternoon, so for many, the ritual is now saved for holiday and special treat. The tradition is still quintessentially British, and many Brits still make time to sit and enjoy the propriety and civility of this the quaintest of English dining customs, just not on a daily basis. One renowned place to find a true afternoon tea is the Ritz in London. Their afternoon tea service is in such high demand that bookings generally must be made months in advance. In Yorkshire, there are the famous Bettys Tea Rooms which have barely changed since the day they opened in 1919.

What Is a High Tea?

The origins of afternoon tea show clearly it was the preserve of the rich in the 19th century. For workers in the newly industrialized Britain, tea time had to wait until after work. By that hour, tea was generally served with heartier dishes which were substantially more than just tea and cakes. Workers needed sustenance after a day of hard labor, so the afterwork meal was more often hot and filling and accompanied by a pot of good, strong tea to revive flagging spirits.Today, the evening meal in working-class households is still often called "tea" but as working patterns have changed yet again, many households now refer to the evening meal as supper. The addition of the word "high" to the phrase "high tea" is believed to differentiate between the afternoon tea that is traditionally served on low, comfortable, parlor chairs or relaxing in the garden and the worker’s after-work high tea that is served at the table and seated on high back dining chairs.

GILDED

GILDED

Brunch breakfast / lunch Brunch is a combination of breakfast and lunch, and regularly has some form of alcoholic drink (most usually champagne or a cocktail) served with it. It is usually served anytime before 3 o'clock in the afternoon.

The mimosa. A light, fizzy, refreshing favorite with the power to liven up any family get-together, make your second cousin’s baby shower tolerable, and give us all a reason to rise for an early morning brunch on any given Sunday. We've come to love this weekend tradition so much that we wanted to give credit where credit is due and learn who is responsible for our mimosa obsession.

5 Fun Facts About Brunch

The term "brunch" was coined in 1895, described as a Sunday meal for "Saturday-night carousers".

Brunch became popular in the US in the 1930s because Hollywood stars making transcontinental train trips would often stop in Chicago for late-morning meals. Stars like Johny Barrymore, Helen Hayes, and Clark Gable often stopped for brunch at Chicago's Pump Room in the Ambassador Hotel.

Pancakes might be one of the oldest brunch classics in human history. Their origins can be traced all the way back to the Ancient Greeks. We think pancakes are lovely for any time of day — breakfast, lunch, or dinner.

The origin of avocado toast is still unknown, but according to The Washington Post, chef Bill Granger of Sydney, Australia may have been the first person to put avocado toast on his café menu in 1993. Despite claims from smug millionaires about giving up avocado toast to save up for a down payment on a house Brunch goes with drinking culture like peanut butter goes with jelly. Not only did brunch popularize day drinking, but it's also the genesis of several popular daytime cocktails, including the Mimosa and Bloody Mary. It is actually attributed with spreading the practice of mixing alcohol with juices. In the early to mid1900s brunch offered a platform for socially acceptable day drinking.

SIMILARITY

both activities were held in the afternoon both events have a relationship with food and drink event to gather and to relax

DIFFERENCES

have different characteristics drinks that are drunk are also different one drink tea and the other a cocktail

GILDED

Thomas Alva Edison LIGHT BULB

Thomas Edison and the “first” light bulb A Brief History of the Light Bulb The electric light, one of the everyday conveniences that most affects our lives, was not “invented” in the traditional sense in 1879 by Thomas Alva Edison, although he could be said to have created the first commercially practical incandescent light.

He was neither the first nor the only person trying to invent an incandescent light bulb.

In fact, some historians claim there were over 20 inventors of incandescent lamps prior to Edison’s version. However, Edison is often credited with the invention because his version was able to outstrip the earlier versions because of a combination of three factors: an effective incandescent material, a higher vacuum than others were able to achieve and a high resistance that made power distribution from a centralized source economically viable.

In 1878, Thomas Edison began serious research into developing a practical incandescent lamp and on October 14, 1878, Edison filed his first patent application for "Improvement In Electric Lights".

However, he continued to test several types of material for metal filaments to improve upon his original design and by Nov 4, 1879, he filed another U.S. patent for an electric lamp using "a carbon filament or strip coiled and connected ... to platina contact wires."Although the patent described several ways of creating the carbon filament including using "cotton and linen thread, wood splints, papers coiled in various ways," it was not until several months after the patent was granted that Edison and his team discovered that a carbonized bamboo filament could last over 1200 hours.This discovery marked the beginning of commerically manufactured light bulbs and in 1880, Thomas Edison’s company, Edison Electric Light Company begain marketing its new product.

Nike MAG The Nike MAG is a limited edition shoe created by Nike Inc.It is a replica of a shoe featured in the motion picture, Back to the Future Part II. The Nike Mag was originally released for sale in 2011 and again in 2016. Both launches were of limited quantities. The 2011 release was limited to 1,500 pairs, while the 2016 release was limited to 89 pairs. The shoes feature an electroluminescent out-sole, space age materials, and a rechargeable internal battery good for 3,000 hours. They are the first rechargeable pair of footwear by Nike. Power laces, a prominent feature of the shoe in the film, are not present.

SIMILARITY

Have a light Powered by electricity

DIFFERENCES

have different uses have a different shape the lights are used for lighting while the ones on the shoes are for decoration only they were on a different era

SIMILARITY

the collection is inspired by MICKEY MOUSE have MICKEY MOUSE prints all over the design the image of mickey mouse original from the disney

DIFFERENCES a form of a clothing

1920

First appearance 1928 Created by Walt Disney

Mickey Mouse

1920

Mickey Mouse is a cartoon character and the mascot of The Walt Disney Company. He was created by Walt Disney and Ub Iwerks at the Walt Disney Studios in 1928.

An anthropomorphic mouse who typically wears red shorts, large yellow shoes, and white gloves, Mickey is one of the world's most recognizable characters.Created as a replacement for a prior Disney character, Oswald the Lucky Rabbit, Mickey first appeared in the short Plane Crazy, debuting publicly in the short film Steamboat Willie (1928), one of the first sound cartoons. He went on to appear in over 130 films, including The Band Concert (1935), Brave Little Tailor (1938), and Fantasia (1940). Mickey appeared primarily in short films, but also occasionally in feature-length films.

How did Mickey Mouse get his name?

Walt Disney originally called his creation Mortimer. It was his wife, Lillian, who persuaded him to change it to Mickey Mouse. American actor, Mickey Rooney, has claimed that Mickey Mouse was in fact named after himself, following meeting Walt Disney in the 1920s as a child.

DISNEY X GUCCI

Disney's legendary character Mickey Mouse defines a lineup of ready-to-wear and accessories,

1920

CUBISM

PABLO PICASSO (1881-1973) LE DÉJEUNER SUR L'HERBE, 1962

CUBISM

Pablo Picasso pioneered the Cubism movement , a revolutionary style of modern art that Picasso formed in response to the rapidly changing modern world. In collaboration with his friend and fellow artist Georges Braque,Picasso challenged conventional, realistic forms of art through the establishment of Cubism. He wanted to develop a new way of seeing that reflected the modern age, and Cubism is how he achieved this goal.Picasso did not feel that art should copy nature. He felt no obligation to remain tied to the more traditional artistic techniques of perspective, modeling, and foreshortening and felt two-dimensional object. Picasso wanted to emphasize the difference between a painting and reality.Cubism involves different ways of seeing, or perceiving, the world around us.

Picasso believed in the concept of relativity – he took into account both his observations and his memories when creating a Cubist image. He felt that we do not see an object from one angle or perspective, but rather from many angles selected by sight and movement. As a result of this belief, Cubism became about how to see an object or figure rather than what the artist was looking at.African art and the modern, urban street life of Paris greatly influenced Picasso’s conception of Cubism. In addition, Picasso became fascinated with the process of construction and deconstruction, a fascination that is evident in his Cubist works.When creating these Cubist pieces, Picasso would simplify objects into geometric components and planes that may or may not add up to the whole object as it would appear in the natural world. He would distort figures and forms and simultaneously depict different points of view on one plane.Picasso actively created works of Cubist art for around ten years. Within this time span, his Cubist style subtly evolved from Analytical Cubism (1907-1912) to Synthetic Cubism (1913-1917). With Analytical Cubism, Picasso utilized a muted color palette of monochromatic browns, grays, and blacks and chose to convey relatively unemotional subject matters such as still lifes and landscapes. He placed an emphasis on open figuration and abstraction, but did not yet incorporate elements of texture and collage.With Synthetic Cubism, Picasso incorporated texture, patterning, text, and newspaper scraps into his Cubist works. While he still portrayed relatively neutral subjects such as musical instruments, bottles, glasses, pitchers, newspapers, playing cards, and human faces and figures, his technique had progressed to the point where he was consistently including elements of collage, a technique that his is often credited with inventing. With Synthetic Cubism, Picasso redefined the visual effect of his original Cubist technique and incorporated new materials, paving the way for the artistic avantgarde movement to ignite throughout Europe. Cubism is renowned as a groundbreaking artistic movement in and of its own right, yet it also influenced generations of artists to follow, shaping the very history of art.Pablo Picasso, “Jacqueline at the Easel, 1956”. Color Lithograph with Pochoir.While the majority of Picasso’s works of Cubism are paintings, he also created stunning prints; etchings, lithographs and linocuts in the style of Cubism. Such Cubist prints are exceedingly rare and are often created after the image of renowned Picasso Cubist paintings such as Still Life with a Bottle of Rum (1911). Picasso also incorporated pochoir, or hand-applied watercolor, to the majority of his Cubist prints, further contributing a sense of texture and color. As Picasso is credited with establishing and spearheading Cubism, these Cubists prints are iconic, they remain amongst his most collectible and treasured graphic works to date.

CUBISM

Walter Van Beirendonck Fall 2015 Menswear - Cubism inspired

CUBISM

SIMILARITY

the collection is inspired by cubism have geometrical prints and design all over they were both bright colors they were both art but in a difernt form

DIFFERENCES

Not in a form of a paintings

CUBISM

surrealism

The eye was a subject that fascinated many Surrealist poets and visual artists, given its threshold position between inner, subjective self and the external world. The Surrealist photographer Man Ray once owned The False Mirror, which he memorably described as a painting that “sees as much as it itself is seen.”

His words capture the work’s unsettling character: it places the viewer on the spot, caught between looking through and being watched by an eye that proves to be empty. It opens onto a void that, for all its radiant, cumulus-cloud-filled beauty, seems to deny the possibility of human existence.

René Magritte The False MirrorParis 1929

A huge, isolated eye stares out at the viewer. Its left, inner corner has a vivid, viscous quality.

The anatomical detailing of this area and its surface sheen contrast with the matte, dead-black of the eye’s pupil, which floats, unmoored, against a limpid, cloud-filled sky of cerulean blue.

Although the areas surrounding the eye’s iris are carefully shaded and modeled, giving the illusion of a play of light on three-dimensional form, the sky displays no trace of convexity; its puffy clouds are beautifully rendered, but not its blue expanse. As a result, the sky appears as though seen through a circular window rather than mirrored in the spherical, liquid surface of an eye.

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"Heaven On Earth" Louis Vuitton Fall 2020 Men's

Above all, Vuitton is a house known for its longstanding accessories experti se, and Abloh's latest collection showed how even heritage leather goods can enter a new era. Using distorted forms, mirrored surfaces, and ombré blue tones coordinating with the sky theme, the designer furthered his message of surrealism all while showing the achievable magic of dreaming a little more in the everyday. If the Fall 2020 season, and the new decade it launches, is truly signaling the dawn of a "neotailoring" that finally manages to fuse the formal with streetwear, it seems Abloh has proven to be a true master of fashion's next era.

The collection itself, which Abloh titled "Heaven On Earth," lived up to its optimistic name. In place of the streetwear codes that defined the 2010s, Louis Vuitton Fall 2020 Men's was a joyful tribute to contemporary tailoring, with traditional codes completely redesigned for future generations. Models walked in head-to-toe sky ensembles or sported pops of pink, emphasizing joy as much as craft. Down to the smallest detail, the acclaimed designer worked his creativity to the fullest in order to display just what would replace—or perhaps just reinvent—the streetwear codes he forecasted are on their way out.

SIMILARITY

the collection is inspired by surrealism have clouds prints all over the design

DIFFERENCES

Not in a form of a paintings

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SILVER SCREEN

“The Golden Age of Hollywood”, the name alone evokes a sense of elegance and timeless entertainment quality that left a definite mark on the History of Film and in American Culture in general. Essentially, the Classical Hollywood period started with the decline of The Silent Film Era in the late 1920’s and by the early 1960’s had finished its legendary run.During this 40-year period, the Five Big Hollywood studios (MGM, Paramount, Warner Bros., Fox and RKO) operated as true factories and profusely released films that have stood the test of time.This list aims to point some of their greatest accomplishments, nonetheless, given the capacity and prolific nature of even smaller studios like Universal Studios, Columbia Pictures, and United Artists, it is by no means a categorical account and should be viewed more as a starting point for those who wish to discover this magical time of stars of enduring beauty and talent and some of the most skilled directors and crews that have ever worked in the Movie Industry.

SIMILARITY

they were both silver metallic

DIFFERENCES

the two are different things has a different function

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Louis Vuitton Men's Spring/Summer 2019 Virgil Abloh

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Lifestyle: Golden Age of Hollywood WATCHING MOVIES

The Golden Age of Hollywood was a period of great growth, experimentation and change in the industry that brought international prestige to Hollywood and its movie stars.Under the all-controlling studio system of the era, five movie studios known as the “Big Five” dominated: Warner Brothers, RKO, Fox, MGM and Paramount. Smaller studios included Columbia, Universal and United Artists.The Golden Age of Hollywood began with the silent movie era (though some people say it started at the end of the silent movie age). Dramatic films such as D.W. Griffith’s The Birth of a Nation (1915) and comedies such as The Kid (1921) starring Charlie Chaplin were popular nationwide. Soon, movie stars such as Chaplin, the Marx Brothers and Tallulah Bankhead were adored everywhere.With the introduction of movies with sound, Hollywood producers churned out Westerns, musicals, romantic dramas, horror films and documentaries. Studio movie stars were even more idolized, and Hollywood increased its reputation as the land of affluence and fame.During World War I, after President Woodrow Wilson declared war on Germany, the Big Five jumped on the political-propaganda bandwagon.Often under pressure and guidance from the Wilson administration, they produced educational shorts and reels on war preparedness and military recruitment. They also lent out their wide roster of popular actors to promote America’s war efforts.By the 1930s, at the height of Hollywood’s Golden Age, the movie industry was one of the largest businesses in the United States. Even in the depths of the Great Depression, movies were a weekly escape for many people who loved trading their struggles for a fictional, often dazzling world, if only for a couple of hours.Despite the tough economic times, it’s estimated up to 80 million Americans went to the movies each week during the Depression.Some of the greatest films made in all of Hollywood history were made in the late 1930s, such as Snow White and the Seven Dwarves, Mr. Smith Goes to Washington, Gone with the Wind, Jezebel, A Star Is Born, Citizen Kane, The Wizard of Oz, Stagecoach and Wuthering Heights.

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SIMILARITY for entertainment to watch a film

DIFFERENCES

the netflix you can watch it where ever you want you don't need to go to a place to watch simply on your mobile phones

Netflix, is an American media-services provider and production company headquartered in Los Gatos, California, founded in 1997 by Reed Hastings and Marc Randolph in Scotts Valley, California. The company's primary business is its subscription-based streaming service which offers online streaming of a library of films and television programs, including those produced inhouse. As of April 2019, Netflix had over 148 million paid subscriptions worldwide, including 60 million in the United States, and over 154 million subscriptions total including free trials.It is available worldwide except in mainland China (due to local restrictions), Syria, North Korea, and Crimea (due to U.S. sanctions). The company also has offices in India, Netherlands, Brazil, Japan, and South Korea. Netflix is a member of the Motion Picture Association (MPA).Netflix's initial business model included DVD sales and rental by mail, but Hastings abandoned the sales about a year after the company's founding to focus on the initial DVD rental business.Netflix expanded its business in 2010 with the introduction of streaming media while retaining the DVD and Blu-ray rental business. The company expanded internationally in 2010 with streaming available in Canada,followed by Latin America and the Caribbean. Netflix entered the content-production industry in 2012, debuting its first series Lilyhammer.Since 2012, Netflix has taken more of an active role as producer and distributor for both film and television series, and to that end, it offers a variety of "Netflix Original" content through its online library. By January 2016, Netflix services operated in more than 190 countries.

Netflix released an estimated 126 original series and films in 2016, more than any other network or cable channel. Their efforts to produce new content, secure the rights for additional content, and diversify through 190 countries have resulted in the company racking up billions in debt: $21.9 billion as of September 2017, up from $16.8 billion from the previous year. $6.5 billion of this is long-term debt, while the remaining is in long-term obligations.[20] In October 2018, Netflix announced it would raise another $2 billion in debt to help fund new content. As of March 2020, Netflix offered just under 3,000 film titles for streaming on its U.S. service. This does not include multi-episode titles (series).

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The Wizard of Oz The Wizard of Oz is a 1949 American musical fantasy film produced

by Metro-Goldwyn-Mayer. Widely regarded as one of the greatest films of all time, it is the most commercially successful adaptation of L. Frank Baum's 1900 children's fantasy novel The Wonderful Wizard of Oz. Directed primarily by Victor Fleming (who left the production to take over the troubled Gone with the Wind), the film stars Judy Garland as Dorothy Gale alongside Ray Bolger, Jack Haley, and Bert Lahr.Characterized by its use of Technicolor, fantasy storytelling, musical score, and memorable characters, the film has become an American pop culture icon. It was nominated for six Academy Awards, including Best Picture, but lost to Gone with the Wind, also directed by Fleming. It did win in two other categories: Best Original Song for "Over the Rainbow" and Best Original Score by Herbert Stothart. While the film was considered a critical success upon release in August 1939, it failed to make a profit for MGM until the 1949 rerelease, earning only $3,017,000 on a $2,777,000 budget, not including promotional costs, which made it MGM's most expensive production at that time.

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“A

heart

is

not

judged

by

how much you love; but by how much you are loved by others”

The 1956 television broadcast premiere of the film on the CBS network reintroduced the film to the public; according to the Library of Congress, it is the most seen film in movie history.It was among the first 25 films that inaugurated the National Film Registry list in 1989. It is also one of the few films on UNESCO's Memory of the World Register.The film is among the top ten in the BFI (British Film Institute) list of 50 films to be seen by the age of 14.The Wizard of Oz is the source of many quotes referenced in contemporary popular culture.

Noel Langley, Florence Ryerson, and Edgar Allan Woolf received credit for the screenplay, but others made uncredited contributions. The songs were written by Edgar "Yip" Harburg (lyrics) and Harold Arlen (music). The musical score and the incidental music were composed by Stothart.

Louis Vuitton spring/su mmer 2019 menswear

SIMILARITY

they were inspired by the wizard of oz they were have a picture of the character of the wizard of oz on the clothing

DIFFERENCES

one is a film and the other one is a clothing

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