The thirties meant…

Bias cut gowns

Chiffon tea dresses

Twinsets

Wide legged trousers

Frilled blouses

Tailored suits

Shoulder capes

Peep-toe shoes

Berets

Faces of the Thirties.

Greta Garbo, Marlene Dietrich, Joan Crawford and Jean Harlow. 

                                                       

                                    1940s

‘It’s pulse beats with imperishable vitality. As long as there is desire for change and love of self-expression, a sense of fitness and a sense of fantasy-there will be fashion’ Vogue 1940s

The bleakest decade, women were once again called to work during WWII. Silk and wool was very limited during the war years and the main fabrics in use were rayon, synthetic jersey and other manmade fibres. In 1941 Vogue magazine championed the notion that to be chic you must ‘skimp’.

Austerity was the watch word. Less yardage of fabrics were used in clothing however designs were beautifully tailored with form and function dictating the silhouette. As a result bodices were often fitted and details were everything. Shirring, capped sleeves and tiny kick pleats abounded.

When silk stockings were banned in 1941 women were horrified. This left nylon, which at the time was difficult to come by and not as popular. 

Zip manufacturing was affected by the war, resulting in a resurgence of stitching, seaming and buttons being used as primary fastenings. And so we see lovely fabric covered buttons from the decade, which designers used to add interest to simpler styling. 

Prints from the decade, although not in abundance, became looser and more painterly. In Europe they reflected changes in society, and patriotism with flags and maps often featuring. The beginning of the decade saw more naturalistic forms. America also suffered from rationing and used bold hawaiian prints to brighten fabrics.

The fashion industry became severely restricted and most people adopted the ‘make do and mend’ philosophy. People made their own clothes using what fabrics they could.

Because of constraints of clothes rationing it is much harder to in 1940s clothing in good condition as most garments were worn and worn, remade and altered until they disintegrated. Categories of clothing subject to restrictions could be identified by their labels. The luxury utility was identified by it’s circle and stroke emblem, the alternative CC41 label marked all clothing manufactured under the Civilian Clothing Order.

Desperate to have some freedom of expression through the clothes they wore, women wore a variety of hats and headscarves, and these were key accessories of the decade. 

In 1942 the british government worked with Britain’s leading couturiers to develop a utility wardrobe. Designers such as Norman Hartnell, Hardy Amies, Victor Stiebel and Edward Molyneux to name a few worked together to design a collection with austerity in mind.

Christian Dior’s New look was unleashed on the world in 1947. The collection brought condemnation from some quarters and euphoria to others. Many women were fed up with boxy styles and Dior’s New look, however premature was a sign of new hope and a return to the glamorous pre war days. Dior’s ultra feminine silhouette featured abundances of fabric in larger skirts, narrower shoulders and nipped in waistlines. Some designers, such as Jacques Fath opposed the New look at first and designed close fitting clothes . But over riding was the feeling that all were sick of uniforms and uniformity. 

 

 

The forties meant…

Wide-shouldered jackets

Fitted skirts

Floral print dresses

Trench coats

Hand-knit twinsets

Platform shoes

Pillbox hats

Wide-legged trousers

Narrow belts

Snoods

                                   1950s

 ‘I designed clothes for flower-like women, with rounded shoulders, full, feminine busts, and hand-span waists above enormous spreading skirts.’ Christian Dior 

                                    A decade of hope, promising peace and prosperity for all.

The 1950s was a fabulous decade of the return to glamour, poise and taste were key words. The female form was dressed to exaggerate the 1950s ideal. Clothing reasserted female sexuality with the hourglass silhouette. Elegance was redefined, and an abundance of advice was available giving women advice on style, beauty and poise.  A growing magazine and advertising industry began to have a greater influence on consumers.

Outside of the house it was customary to wear coordinating gloves, hats and bags. It was not just what you wore, but all importantly what you wore it with. Stole’s and jewellery completed an evening gown. Daywear afforded slightly more comfort and freedom with a greater range of separates. Shoes changed considerably with slimmer soles and stiletto heels, developed in Italy with a metal tip. 

 

For evening wear the little black dress was defined as the core of any ladies
wardrobe. Key shapes of the decade were full skirts and pencil skirt suits. Other shapes came and went fleetingly, for skirts the Sack, Princess, Tulip and Trapeze lines were all in fashion for brief periods. Dior championed variable silhouettes in his collections although with the exception of the A line all placed emphasis on a wasp waistline. Hemlines were always designed to be worn below the knee.

For cotton fashions there was an explosion of print designs. Florals were ever fashionable and chic, as were Americana style prints. Nylon manufacturing grew rapidly in England and stockings were available in a greater range of weights and shades. Social advances made by women during the war years and the contribution they made was a thing of the past. Women were to be ladylike and groomed, but also self assured and confident.

During the 1950s Paris fashion still largely dominated fashion, with Balenciaga still a leading force, although there were other shining stars including Norman Hartnell and Victor Stiebel. In London and Sybil Connolly in Dublin and Italy and Spain exerted some influence. Givenchy was launched in 1952 with Audrey Hepburn later becoming his muse. Hubert de Givenchy introduced the sack dress in 1959 which was significant as an early indicator of a desire for freer shapes that came to revolutionise fashion in the following decade. Christian Dior died suddenly at the age of 57 in 1956. The decade also saw the beginnings of a ready to wear market which many designers were utilising as well the growth of department stores and the beginnings of more affordable style for all.

 People tried to forget the depression of the forties with as many luxuries as the new world could offer. A new youth began to emerge towards the end of the decade, who wanted to differentiate themselves through fashion and were yearning for more creativity.The fashion world began to recognise different generations as unique consumer groups. The beginnings of what became a fashion revolution of the 1960s had started.....            

 

       The Fifties meant…

      Printed cotton circular skirts

      Fitted suits

      Beaded cardigans

      Halter-neck dresses

      Capri pants

      Opera coats

      Cat’s eye sunglasses

      Silk print headscarves

      Stilettos

                     

                                          

                                         1960s

The 1960s was a decade of immense cultural, social and political change.The world of fashion too underwent great changes, and Parisian Couture’s dominance of fashion was to be irrevocably altered. The emergence of a powerful youth culture, in combination with new savvy designers brought massive changes in manufacturing and British retail. The post war baby boom had created a new generation who wanted to break free and be different.

The mini 

Whilst Mary Quant was widely credited with inventing the mini skirt, it was Andres Courreges and John Bates who helped pioneer it. However Quant certainly secured it’s position in mainstream culture, and her brand marketing skills were revolutionary. Courreges first introduced the mini skirt in Paris and John Bates the bikini dress, which won dress of the year in 1965, a key stage in the evolution of hemlines. Bates touted some of the shortest hemlines of the decade.

Just as the 1920s saw a revolution in fashion and a greater empowerment, 1960s fashion too was a powerful and memorable expression of self. Women  believed they had a right to dress as they chose. Mini Skirts have become symbolic of of the decade; one of progress and the future.

 Developments in existing synthetic fabrics continued during the 1960s and new and exciting fabrics became available to designers and manufacturers. Synthetics were en vogue during the decade even with high end designers and couturiers.

Changes in British and American retail saw the rise of boutiques stocking designer ready to wear collections. Exclusive designer concessions in department stores also grew, with ever increasing consumer demands, many high end fashion designers realised the need to diversify whilst retaining quality and style. During the decade, whilst the prestige of couture remained, on it’s own it was no longer enough to ensure the survival of big fashion houses. Gradually substantial revenue was gained from exclusive ready to wear collections.

Yves Saint Laurent was one such designer who recognised the need for change. Having left Dior in 1961 he opened his own fashion house with business partner Pierre Berg. They launched their own label Saint Laurent Rive Gauche, which appealed to a new youth market, while retaining the highest quality. 

Fashion editors were no longer dictated to by couture and new target market fashion and lifestyle magazines demanded diversity in fashion. Advertising grew and fashion photography developed as a highly creative medium in it’s own right. Op and pop art and the work of abstract modernist artists such as such Mondrian had a great influence on textiles and fashion design. The shift dress was the perfect canvas for colour and pattern. 

Advances in Space travel  and technology fuelled the trend for futuristic ‘space age’ fashion such as Paco Rabannes incredible disc dresses. His adventurous designs experimented with plastic, aluminium and pieces of scrap metal. Andre Couregges and Pierre Cardin also championed the look, with other designers taking elements and incorporating them into their collections.

Towards the end of the decade ‘hippy’ chic emerged as a trend, flowing garments and trousers became widespread, as did ethnically inspired clothes. Hemlines dropped and long dresses were fashionable again.

The sixties meant…

A-line shift dresses

Mini skirts

Pop art prints

Pillbox hats

Psychedelic prints

Knee high boots

Afghan coats

Maxi skirts

Trouser suits

Metallic knits

Vinyl dresses

Crochet dresses

 

                   

                                  1970s

‘You are one of a kind, unique in fashion. Forget rules-you make them, you break them’. Vogue 1970s

The beginnings of the decade saw skirt lengths plummet. Loose, free ethnically influenced fashion was big in the first half of the decade. Inspiration came from as far flung destinations such as India, Morocco and Japan. Crafting traditions were revived and techniques such as macrame, tatting and knit. Tassels, trimmings and embroidery was rife. Natural animal fibres were popular, shaggy afghan coats,sheepskin and fur. International travel was more accessible than ever. The 1970s generation was confused, and unsure of where to go next. The early part of the decade saw some confusion regarding skirt styles. The midi was largely rejected. Some women played it safe and took refuge in trousers. 

 In Britain Fashion designers were often skilled textile designers or worked in collaboration with them. Bill Gibb created unique, one off designs with complex printed and appliqued textiles. Zandra Rhodes was both a textiles turned fashion designer for whom pattern was everything. She created flamboyant and colourful designs as well as subtle masterpieces. Thea Porter brought middle Eastern influences to fashion designs of the time, which was evident not only in print, pattern and embroidery but also in one of the most memorable silhouettes of the decade, the kaftan. Japanese fashion designers exploded onto the scene in the 1970s paving the way for the future Japanese stars of fashion. Kansai Yamamoto showed his first London collection in 1971 featuring extraordinary theatrical clothes and platform boots. 

Fashion and music were interchangeable. Fashion designers were regularly producing clothes for artists and creatively collaborating with each other. Fashion photography became a highly creative medium and became increasingly experimental. Art continued to influence fashion including performance art and the beginnings of conceptual fashion could be felt. New York was a creative hub of talent, with studio 54 and it’s fashionable clientele, cementing it as one of the most significant fashion capitals of the 1970s. The inimitable party lover Halston was a regular in the VIP rooms of Studio 54 where he saw strings of celebrity clients who loved his minimalist, but elegant approach to design. LA too was a mecca of fashionable people where maxi dresses flowed and chiffon billowed.

The middle of the decade onwards saw a greater awareness of the body in space and fashions relationship to it. The merest hints of the body conscious fashions could be felt. Whilst still often voluminous, the shape of the body was again beginning to take dictate form. 

1977 saw the rise of punk fashion in England spearheaded by Vivienne Westwood and Malcolm McClaren. A disaffected youth drove the anti-fashion movement. Meanwhile Lycra, sportswear and disco whilst not officially designating the term, introduced truly body conscious clothing. Towards the end of the decade the New romantics trend emerged and their was a brief rekindling of Victoriana.

Top designers capitalised on globalisation and were wholesaling around the world. separates and easy to wear classics were were produced with working women in mind. Trouser suits became the height of style, with flared trousers and suit jackets. Ralph Lauren introduced preppy slacks in America and slick daywear. Geoffrey Beene and Calvin Klein also championed designs for women that were stylish and practical combining masculine and feminine elements. 

The seventies meant…

Kaftans

Flares

Maxi skirts

Pheasant tops

Maxi coats

Platforms

Ponchos

Disco dresses

Hot pants

Bondage trousers

Playsuits

Victorian blouses

Denim

Leather