TXA 325M

1883-1971

• •Simple aesthetic but everything was considered
• -Down to the pearl necklace

•Innovative Textiles: unexpected

•Costume Jewelry—good quality

•Cardigan jacket

•Little Black Dress

•Trousers

• •Perfume
• -Marketing name through licensing was a new idea

•Everything thought out

1876-1975

•“Invented” bias cut

•Fit/contour

•Opposite of Chanel

•Halter

•Cowl

•Handkerchief Skirt

•Career paralleled Chanel’s

1871-1946

•Patented silk pleating in 1909

•A secret process still yet to be discovered

• •Delphos Gown
• -Like a Greek column

•Painted velvet

1880-1936

•Ended the flapper era

•Like the flapper silhouette, but had a waistline (1920s)

•Natural waist

•Cardigan

•Comfort and function

•Athletic clothing

1869-1936

•Fashion House 1891

•Marketing

• •Fashion Parades
• -Took models to the streets and attracted crowds

•Knew she had to fight for attention with a male-saturated market

•More traditional aesthetic

1903-1994

•Bias

•Jersey

•Draping

•Turbans

1879-1944

• •Worked for Worth & Doucet
• -Typical ascendency of a designer when you worked as a designer’s apprentice before become your own

•Modern

•Lampshade silhouette

•Harem Pant

•Poor construction—in a time when that was most important

•More known for illustrations (by Georges Lapape) of his work

•Fashion was very “out there”

•Nothing of his has survived because of poor quality

•Great color sense and ability to mix patterns

1853-1929

•Elegance

•Translucency

•Lingerie family

•Brought lingerie aesthetic to his designs

•Pastels

•Luxury above novelty

1867-1946

• •Children as inspiration
• -Started in childrenswear

•Dressmaker

• •Silhouette competed with the flapper look
• -Robe de Style

1890-1973

•Knits

•Surrealistic

•Worked with Dali a lot

•Dyed zippers

•Many unexpected elements, but they always seemed to work

•Never really crossed that line of being costumey or vulgar

•Graphics

narrow silhouette with fullness below the hips and a semicircular frame supported the trailing skirts

• gown worn without a
• corset, loosely fitted, and softer in line than daytime or evening dresses;
• worn at home with other women friends

• when the outer
• fabric of a princess-style dress (one piece from shoulder to hem with no
• waistline seam) was looped up or draped over the hip

• sleeve style with a
• puff at the sleeve cap that was very pronounced; a forerunner of the extremely
• full sleeves that characterized the 1890s

• a long, belted coat
• often made with a removable shoulder cape or hood

• matching jackets and skirts, worn with a
• blouse; predominant fashion outside the home

a belted sport jacket (menswear)

• a variant of the
• fedora made popular by the Prince of Wales

• made famous through
• the illustrations of Conan Doyle's Sherlock Holmes stories

• an Aesthetic
• Movement illustrator of children's books who showed little girls in dresses
• derived from Empire styles

• consisted of a
• velvet tunic, ending slightly below the waist, tight knickerbockers, a wide
• sash, and a wide, white lace collar

• popular white, frilly cotton or linen dresses
• with decorations such as tucking, pleating, lace insertions, bands of applied
• fabric, lace and embroidery; the fabric and decoration resembled women's
• undergarments or lingerie of the period

• gathered into the armseye and full below the
• elbow with fabric puffed or pouched at the wrist

• hair built high in
• front and at the sides around the face

• large-brimmed hats
• decorated lavishly with artificial flowers, lace, buckles, feathers, and bird
• wings

extremely narrow at the ankles

• fullness concentrated at the hip then
• narrowing gradually to the ankles

• a wide tunic, boned to hold out the skirt in a
• full circle and worn over the narrowest of hobble skirts

• a combination
• garment that put together a camisole with a skirt that buttoned under the
• crotch to form drawers

• name given to almost
• any kind of rainwear

1. Emphasis up top with a train; waterfall-like effect; elaborate trims and draping (1870-1878)

2. Straight bodice, emphasis lowers to the back of the knees; sheath or cuirass bodice; polonaise neckline, heavy decorations like upholstery (1878-1883)

3. Emphasis back up, but the line is straight down; rigid, shelf-like, rarely had a train (1883-1890)

Back fullness diminished, sleeves grew larger, skirts more circular, and an hour-glass shape silhouette came into fashion

1880s-1890s

Beauty over ethics

Debate of function versus form

Influenced by looking backwards

• "Art for art's sake"
• Jane Morris: the ideal aesthetic figure

Influenced by the Pre-Raphaelite paintings of Dante Gabriel Rossetti and Edward Burne Jones who idealized medieval life in imaginary ethereal scenes

Men: velvet jackets, soft-collared shirts, long hair

Women: no bustle, older sleeves, often Medieval and Renaissance, softer/disheveled hair

• Luxurious period
• "Beautiful Era" belonging to fashionable society
• Seemed like an untroubled period of the privileged living a "fairytale"
• Though created a rebellion of the elite
• Prior to WWI

• Pursuit of beauty,
• entertainment, and romance conquered the lifestyle

Beneath surface laid deep bitterness

Increased European Population

Growth of cities and urban life

Faith in science; Charles Darwin

1837-1901

Prosperity, Expansion, and Political Reform

Upper Class definition changing

Middle class developing

Prudish/Opressive attitudes

Bad working conditions/child labor

Scientific Progress

S-Shape emphasis

Mono-breast padding

Gibson Girl

Lingerie Dress

Hobble Skirt (Poiret)

Empire waistline

Narrow silhouette and tubular undergarments

Delphos dresses (Fortuny)

Dough-boys

More practical clothing: shorter and wider skirts, less encumbering

Sweaters (shakers), trenchcoats, wrist watches

The "Gibson Girl" illustrator

•Found Evelyn Nesbit comical

•Drew her satirically

First media icon

The Eternal Question