I love a good henley sweater and this sweater is so cute and comfortable. T.32-1978Given by Mr Fergus Cochrane. Photograph;portraitof Henriette Henriot (cabinet card)C.H. Suit (jacket and skirt)Victor Stiebel (1907-76, designer), for theUtility Scheme1942LondonFlecked woolMuseum no. This suit was worn by HRH The Duke of Windsor. Driving CoatHammond & Co. Ltd. (tailors)1906-8LondonWoven houndstooth check tweed, lined with silk and woven woolMuseum no. PrintGeorges Lepape (1887-1971; engraver), Gazette du Bon Ton (publisher)1920FranceColour process engraving and colour stencilMuseum no. During this decade, frilly, puffed blouses and fluted skirts continued to be popular. If you are looking for all the best international brands and genuine quality global products, your search ends here. T.107:1,2-2003. You can discover the latest offers on Attitude Unknown products and save money each time you decide to purchase. We usually associate Chanel's name with her practical classic suits, which first appeared in about 1917. Since guests usually stood and mingled the gowns could include complex bustles and skirt details, which would be crushed if sat on. He left Balenciaga, with whom he had worked for six years, to join Courrges in 1964. and earn money while sitting at your home. I punched two extra holes to shorten the strap since Im petite. The processes used to create the beaver hats involved the use of mercury. T.459 to B-1974Given by the Duke and Duchess of Kent. God, I thought, we'll go bust - we'll never be able to sell them. It reached its peak of popularity during the 1840s and 1850s, when mass manufacturing and industrialisation brought fashionable dress within the reach of a much wider section of the population. I feel like everyone once owned this blazer as their starter blazer in 2005. During the war, most men wore military uniform of some kind. Jackets were narrow with small, high lapels. The smoking jacket was a short, easy- fitting coat, cut in the style of a lounge jacket. E.3036-2004Bequeathed by Ilse Bing Wolff. This pair of white shorts or these cuffed white shorts look like good options since the exact pair I have only has one size left. The shape of the top hat appeared at the end of the 18th century. He launched 'Heim Jeunes Filles' in 1936 to follow younger tastes in fashion. Hair was worn long, with stylised waves and rolls on top of the head. Finally, lapels and trousers took on exaggeratedly wide dimensions. By the late 19th century vests were available in a range of colours, including peach, flesh tint, lavender, light blue and heliotrope.
Products purchased through this post may earn us a commission. Hair was often cropped quite short and set in curls, or kept long and tied in simple chignons or ponytails at the back. T.259-1976. Read on for my takes on six popular black blazers, and my two favorites: My first thought when trying this blazer on was that it felt a little cheap, and thats never a good sign. Throughout the 19th century drawers had been worn, made of similar materials to the vest, including stockinette, cotton and wool; but by the end of the 19th century the distinction between drawers and underpants was recognised. Get free shipping on orders over $150 and you can use my, c/o Allbirds Tree Skippers in chalk I received these comfortable slip-on shoes a month ago as a gifted item from Allbirds. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. The line was simple and uncluttered, with few trimmings or accessories. Evening ensemble (dress and jacket)Mainbocher (1891-1976)1937ParisSilk crepe, embroidered with sequins (jacket)Museum no. Evening ensembleElsa Schiaparelli (1890-1973)1938LondonRayon marocain, backed with satin, and embroidered with various gilt threads, beads and diamantesMuseum no. 
In the early 20th century it replaced the frock coat and the morning coat. It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. Evening dressDesigner unknownAbout 1913Great Britain or FranceSilk chine and silk voile, brocaded with metallic threads, and trimmed with mauve satin, diamantes, imitation pearls and bobbin laceMuseum no. Evening dressElsa Schiaparelli (1890-1973)1936ParisWool crepe and gold braidMuseum no.
When offering this jacket and skirt to the Museum in August 1942, Sir Thomas Barlow explained that 'they conform in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'. Coco Chanel championed comfortable and practical clothing for women. Most shoes were high-heeled, even for dancing, necessitating straps over the instep. Maybe wait for a super sale or opt for the Target version for the classic look. With its double-breasted cut, peaked lapels and wide straight-legged trousers, this suit is typical of the period. During the second half of the century new informal styles, such as the straw boater and soft felt hat, as well as the more formal bowler hat, challenged the predominance of the top hat. The Norfolk jacket was a versatile garment which became an important item in a gentleman's wardrobe.
Schiaparelli gave this dress to the V&A after her retirement. The fabric is definitely the thinnest of all the blazers I tried on, but not necessarily in a bad way. Evening ensemble (dress and coat)Charles James (1906-78)1934LondonBias-cut satin (dress), with furMuseum no. 'Cosmos' ensemblePierre Cardin (born 1922)1967ParisWoollen jersey with applied vinyl (dress), knitted ribbed wool (sweater), vinyl (accessories)Museum no. By the 1930s an increasing number of couturiers were attracted to the newly available and sophisticated rayon dress goods. Braid manufacturers were among the first bulk buyers of artificial silk, and were then joined by hosiery and underwear manufacturers. Free Assembly Womens Slim Double-Breasted Blazer, size XS | Sofia Jeans by Sofia Vergara Womens Skinny Mid Rise Stretch Ankle Jeans, size 0 short inseam in Manteca light wash | Sophia Vegan Leather Caged Convertible Crossbody | Click here to view a clip of the outfit on me. T.316&A-1978. Since guests usually stood and mingled, the gowns could include complex bustles, appliqu and skirt details, which would be crushed if sat on. His jacket is not as sharply tailored and stiff as those preferred by his more formal contemporaries, and his collar is low. Bespoke dressmaking was an important feature of their store on Oxford Street and the coat combines the fashionable high collar and full sleeves with the artistic design of the embroidery. Photograph of ladies walking in the Avenue des Acacias, ParisJacques-Henri Lartigue (1894-1986)1911, ParisGelatine silver printMuseum no. Barbara Hulanicki, the designer, recollected in her autobiography, A to Biba: 'The skirts were only 10 inches long. What I found is that several had a tendency to look too professional, and more "pencil skirt" than "vintage jeans," but I landed on two clear winners that are flattering, chic, and give the perfect amount of structure to the timeless look of vintage denim and a band tee. This is a good example of a Utility suit. It was initially known as the 'Norfolk shirt' and was at first strictly reserved for country wear. E.343-1985. There is a Morton label inside the blouse, making it one of only two Utility prototype garments labelled by the original designer. I also got these mid-rise jeans in a darker wash Delta dark wash and I noticed that the run more snug in the waist compared to the lighter wash (Manteca light wash) so I would have preferred them in size 2 short for a more comfortable fit. The late 1960s celebrity boutique phenomenon saw popular teenage idols launching clothing lines and boutiques. Though most women would not have been able to afford a dress from a couture house, many would emulate the Princess' style. Jean Patou (1880-1936) was born in Normandy, France, the son of a tanner. The man's suit is less formal than those of previous decades. Day dressJean Desss (1904-70)About 1953ParisWoollen tweed, bodice lined with crepe de Chine, and waist stay of grosgainMuseum no. During the Second World War both hand-crafted and mass-produced tailoring was as important as it is today. DressLucile (Lady Lucy Duff-Gordon, 1863-1935)1910-2, LondonBlack silk crepe, edged with bands of black and cream silk, the neck fitted with machine-made black laceMuseum no. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. I didnt order this floral print top at first but I decided to order it to try and Im glad that I did. Purple was a typical Biba colour, but when combined with a vibrant yellow zig-zagging print and a short flirty skirt, the effect is dramatic. After polling friends and online reviews, I recently purchased six blazers to try each on in the search of the perfect black blazer. The drop-waist androgyny of the previous decade gave way to a slinky femininity in the 1930s. Single-breasted suitCarr, Sonn & Woor (tailors)1951LondonWoollen twillMuseum no. It has two long sleeves, two vertical pockets on the front and fastens with four buttons. The coat was cut as double-breasted but was always worn open. This version was designed by Jean Desss in about 1955. Rows of non-functional tiny buttons were frequently used as decorative motifs in this period. The dress has a simple collar and spotted cravat.
Manners for Men, by Mrs Humphry ('Madge of Truth'), reported: 'Frequently a silk hat is never seen between Sunday and Sunday. T.42&A-1942Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing. Evening dressCallot SoeursAbout 1922ParisPrinted silk voile, embroidered with sequins and beads, and trimmed with laceMuseum no. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Though initially shocking to some, many designers embraced its informality and ease of movement. This photograph shows the 1950s pop singer, Lita Roza, in fashionable '50s dress. Cocktail dresses gained a new popularity after the Second World War. It was not made by one of the top houses, for it is probably a copy by a good dressmaker of a Paris model . It changed in shape over time and a range of different styles appeared as the century progressed. He closed his fashion houses in 1932. Crepe was very fashionable for both day and evening dresses during this decade. Its similar to the ASOS option but better. T.214-1976Worn by Mrs Ralph Dent and given by Mrs M. Webster. A meticulously tailored but perfectly plain suit is transformed by carefully engineered details. This portrait is of Ilse Bing (1899-1998), one of several leading women photographers in the inter-war period. John Redfern was born in England about 1819. Evening dress (bodice and skirt)Gabrielle'Coco' Chanel (1883-1971)1938-9ParisMachine-sewn red grosgrain and red chiffonMuseum no. They were inspired by earlier masculine styles in neckwear. Photograph, self-portrait ofIlse BingIlse Bing (1899-1998)1934ParisGelatin silver printMuseum no. Bernard Weatherill was a men's tailoring and equestrian dress-maker, established in Savile Row in 1912. He was originally trained by the court dressmaker, Reville.
The cut of this jacket is derived from the earlier 'reefer' coat, usually worn for sailing. E.479-2005Given by Paul Williamson.
His business closed in 1969. In 1946 they launched Horrockses Fashions Limited, a subsidiary company making ready-to-wear dresses, housecoats and beachwear, with headquarters in London's Hanover Square. Mr Rothfield died in 1931. Free Assembly Womens Slim Double-Breasted Blazer, size XS | Sofia Jeans by Sofia Vergara Womens Mid-Rise Shorts, size 00 (similar here and here) | Sophia Vegan Leather Caged Convertible Crossbody | Exact sneakers (Note: I purchased directly from the brand) | Click here to view a clip of the outfit on me. Towards the end of the 1930s the fashionable silhouette altered, and the prevailing streamlined shape was gradually replaced by wider shoulders and a more fitted waist, foreshadowing the silhouette that was to dominate the clothes of the 1940s. It has no more than two pockets, five buttons, six seams, 160 inches of stitching and no superfluous decoration. 'Ecarlate' ('Scarlet') cocktail dressChristian Dior (1905-57)1955ParisSilk grosgrain, lined with silk, nylon and organza net, and tulle; withspiral steel'boning' in the bodiceMuseum no. A pair of immense fern-like fronds are machine-embroidered in furry cream chenille on the skirt, and the cream colour is echoed in floating bands caught in silk georgette bows at the right sleeve and left waist. T.282&A-1974Given by Lady Lloyd. Couturier clothing like this was custom-made for each individual client from the finest materials. She was daughter of the affluent Member of Parliament Sir Thomas Firbank and sister of the novelist Ronald Firbank. The neck and sleeves are adjusted to fit by concealed draw-strings, while a black rouleau, threaded with Venetian glass beads, laces the outer sleeves. It named Biba as the most in shop for gear. The buttons on this tailored ensemble bear a wartime message. Young people's income was at its highest since the end of the Second World War, creating the desire for a wardrobe which did more than simply copy adult dress. It was worn at events and in places where in previous decades more formal attire would have been required. Suit (jacket and skirt) and coatWorth London (designer) for the Incorporated Society of London Fashion Designers (collection), for theUtility Scheme1942LondonScottish woollen tweedMuseum no. At the turn of the century a growing interest in sports and leisure pursuits led to more relaxed clothing for men. By 1940s men were wearing lounge suits with a pullover in place of a waistcoat. The style was derived from military coats at a time when military tailoring had become fashionable. The back of the coat shows a slit from waist down to the hem, covered with a panel.
His collections continued to be a great success. I was expecting more from Everlane. T.639:1 to 3-1996Worn and given by Mrs Elizabeth Payze. Evening dressPierre Balmain (1914-82)1950-5ParisSilk grosgrain with embroidery, lined with linen, supported by boning and netMuseum no. Hence, it is very essential and beneficial to find a genuine, reliable and trustworthy online store to buy Attitude Unknown products. Free Assembly Womens Slim Double-Breasted Blazer, size XS | Sophia Vegan Leather Caged Convertible Crossbody | Safavieh Tulum Area Rug in ivory/grey (3 x 5) | Click here to view a clip of the outfit on me. White or pastel colours, fashionable in the 1920s and early 1930s, soon gave way to stronger, more acidic colours. It may be remarked, however, that it is easy to stultify the whole effect of these, however perfectly they may be 'built' by the tailor, by the addition of a single incongruous article of attire; such as a silk hat or patent boots with a shooting-suit. Vests became fashionable during the 1840s and were often described as 'undershirts'. The design would probably have been used as a presentation drawing, for clients to decide which model they wanted to have made. T.125&A-1962. The torso is moulded by a rigid whalebone corset into an hourglass shape with astraight, flat abdomen.
Older men sported beards, but younger men wore moustaches or went clean-shaven. Dresses with pencil or full skirts were seen in either plain fabrics or floral prints. This is a good example of a Utility Suit. The owner of this lounge suit was Sir Max Beerbohm (1872-1956), the English essayist, caricaturist and master of a polished prose style.
The style of jacket relies for effect on careful fitting to the body in front and gentle fullness at the back, and in the setting of the sleeves. It was published from November 1912 to the summer of 1915, and again from January 1920 to December 1925.
Their lipstick is pale but their eyes are accentuated with thick, black kohl eyeliner. During the war, accessories were important because of their relative affordability; tall platform shoes or sandals, and tall flowery hats were fashionable. This example was drawn by a commercial artist at the little-known Roseland Studio in the 1920s. This smoking jacket and matching trousers appear to have been made out of handkerchief silk as the pattern is not continuous. Hats were often lavishly trimmed, and with its mass of purple cotton artificial flowers, this is no exception.
By the 1850s the coat was shaped halfway between a riding coat and a frock coat. In October 1942 Vogue magazine published the following description of the collection: 'All the designs are, of course, within the New Austerity specifications: only so many buttons, this much cuff and that much skirtbut they are an object lesson in the power of pure style over mere elegance'. It was featured in French Vogue (March 1966 and March 1967). This dress is typical of a conservative ensemble of the 1950s. It may have been designed by Edward Molyneux. It is decorated with lace, frills and pin-tucks, to give a soft and feminine appearance. Their impact depended on the juxtaposition of colours and a variety of luxurious and richly decorated fabrics. The print is by Celia Birtwell. This style was fashionable into the early 1950s, but the hairstyle marks it out as a particularly 1940s model. T.17-1960Worn by Miss Heather Firbank. These standards complied with restrictions and rationing of raw materials.
Light-reflecting beads and sequins had long been popular decoration for evening fabrics, but in the 1920s the fashion reached its peak. They were madewithlots of frills andtiers, usually in white or light pastel shades, and often decorated with lace, ribbons and pin-tucks. SuitLachasse1948-9LondonWool, silk crepe de chine, and silk jerseyMuseum no.
Having trained as an architect, initially he made plastic buttons and jewellery for Paris couture houses. Its construction appears simple, but the clean lines are achieved by skilled cutting and intricate diagonal seaming. T.21 to B-1960Worn by Miss Heather Firbank.
Clothing became increasingly unisex as men and women shopped at the same boutiques for similar items. T.92-1982Worn by Mrs Opal Holt and given by Mrs D. M. Haynes and Mrs M. Clark. Day dressPaulPoiret (1879-1944)1924ParisFine flecked worsted, trimmed with rayon braid and tassels, machine stitched and hand finishedMuseum no. Cloth caps were popular amongst the working class, though trilbies or homburgs were worn by the middle classes. SuitMoss Bros1969LondonWool twillMuseum no. This is a typical example of a gentleman's morning suit. This versatile double-breasted coat made of a heavy wool would have been ideal for outdoor wear. From Balenciaga he learned to search for a pure, simple and sharp line which, mixed with his taste for white and pure colours, allowed him to create designs for a younger generation. Evening dress suitCharles Wallis Ltd.1923, LondonWoollen cloth, with silk trimming and liningMuseum no. However, between 1920-2 the waistline dropped to hip level, obscuring natural curves for a tubular, androgynous look. A New Day is my favorite label at Target currently, and this blazer did not disappoint. It originated from the 'lounging jacket', which was cut to fit the waist without a waist seam by means of a long dart from under the arm to the waist. Callot Soeurs was also known for its use of lace and decorated sheer fabrics. T.173-1964. Some underpants were knee-length, to go under clothes for sporting wear: short pants of absorbent stockinette, for example, were worn for cycling. With the hem well above the knee it was ideally suited to her boyish figure. 'Peachy' dressMary Quant (born 1934)1960LondonWoolMuseum no.
This costume shows how designers of the period lavishly adorned plain cloth with a variety of rich trimmings. Made in bias-cut ivory satin, it plunges at the back, clings to the torso and gently flares below the thigh. In the early 19th century the top hat was the predominant type of headwear in a gentleman's wardrobe. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The dress was given to the Museum by the Hon. This 1936 evening dress is by Elsa Schiaparelli, who was known for her shock tactics and love of surrealism. To emphasise the bust, a large silk velvet bow was set into the low, square neckline and the waist was compressed by a cummerbund-style lower bodice. The prevalent 1930s style, pioneered by couturiere Madeleine Vionnet, was the bias cut. As a result of the war there were severe fabric shortages, which lasted until the end of the decade. The practice came to an end around the time of the First World War. Smart yet practical, this shirtwaister - a kind of tailored shirt-dress - was the only black garment in the designer Utility collection. Men had previously worn under-waistcoats for extra warmth. It clearly appealed to a largely female readership. Photograph, fashion studyBaron de Meyer (1868-1946)1920Museum no. T.304&A-1982. She is wearing a fashionable cloche hat and sports a bob. The contributors included many prominent artists of the time, and the colour plates anticipated the Art Deco style that was to dominate the 1920s. The dress has a simple collar and spotted cravat. The prevalent 1930s style was the bias cut. His uncle owned a fur business, which Patou joined. Many of his photographs from this period document high fashion - the women he chose to photograph were the wealthy and well-to-do, dressed in the latest fashions, wearing furs and extravagant hats trimmed with feathers. The models' hair is styled close to the head with gentle 'finger waves' along the hairline. Jacques Heim (1899-1967) began to extend his parents' establishment, which specialized in furs, into a couture house in 1920. CIRC.969-1967, This photograph appeared in the American edition of Voguefashion magazine. Henry Haley produced several cover designs for this popular publication in the 1920s. Evening dressMariano Fortuny (1871-1949)About 1920VenicePleated satinMuseum no. The skirt is supported by layers and layers of tulle. However, couture influenced the silhouette and style of more affordable fashions, and dressmakers everywhere followed its lead. The suit is completed by a matching turban-style hat in claret and black, and a hand-embroidered silk blouse in delicate blue-grey. It also shows how designers broke the strong vertical emphasis by creating overskirts with horizontal lines. The inside of the bodice has a grosgrain waist stay (grosgrain is a heavily ribbed silk) with the woven label of Jays Ltd, which bears a taffeta ribbon marked 'Lady Pearson', the name of the wearer. T.421 to H-1977Given by Lady Alice Egerton. A Which magazine consumer trial found that they could be worn at least six times, while other brands would not survive beyond two or three. If you buy something through our links, we may earn an affiliate commission. The Utility Scheme was introduced by the Board of Trade in 1941 to ensure that low and medium quality consumer goods were produced to the highest possible standards at 'reasonable' prices. This dress and coat are typical of glamorous 1930s eveningwear. Women could wear them for work during the day and then, with a change of accessories, wear them out in the evening.
It has lapels similar to a tuxedo and actually reminds me of an Elizabeth & James blazer that I bought years ago (at a much higher price point)! This is a pair of men's brogue shoes, made of leather. This photograph shows the popular 1950s singer, Dennis Lotis. It is an example of the highest standards of design and dressmaking, utilising the most luxurious materials. It has an unusual bodice (without centre back seam), incorporating bat-wing sleeves with long, tapered cuffs and a wired 'Tudor'-style, heart-shaped collar. T.57-1961Given by Lady Hoyer Millar. This overall, or housedress, was designed to Utility standards. T.12-1982Given by Frances Hinchcliffe. This is a poster for Hart Schaffner & Marx, who made hand-tailored clothing for men. The coats illustrated here are typical of the 1950s. CIRC.645-1964Worn by Miss Heather Firbank. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that most people would be able to buy. The shops showed them on Twiggy portrait mannequins, and Twiggy did all the modelling and publicity. Here American designer Leonard Joseph combines the youthful shape of the mini with an unconventional paper textile. Superb materials and top-quality workmanship combine to create this stunning evening dress. During the first half of the 1930s, evening dresses were designed to wrap women in luxurious, body-hugging sheaths, replacing the short, flat square gowns of the 1920s. T.71-1982. Haynes and Mrs M. Clark, Fashion photograph for VoguemagazineEdward J. Steichen (1879-1973)1930 (photographed), ca. 7914-1938Given by Helena Hollyer, 1938. Horrockses was a large cotton manufacturing firm, founded in Preston, Lancashire, in 1791, known for weaving high quality household cottons. Travelling gownDesigner unknown1905, Great BritainWoollen face cloth, trimmed with braid and velvet, and inserted with panels of net and machine-made laceMuseum no.
The dress exposes the dcolletage andshoulders, and the long skirt is fitted around the hips and fluted towards the hem. Special sporting corsets were made so that they could play with some degree of comfort, and masculine inspired fashions were created for the practicalities of time spent outdoors. Pants were either ankle-length to the mid-calf, drawers were either just below or just above the knee. The traditional brogue employs circles and dots born along the lines of the shoe's construction, emphasising the stitching, and as a prominent field pattern on the toecap. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. Clark was one of Britain's most influential fashion designers of the 1960s and 70s.