1930s fashion essay
The S-bend corset was fashionable during the s. It thrust the hips backwards and forced the chest forward into a fashionable pouter-pigeon shape, emphasised with puffed, frilly blouses that were often embellished with decorations like lace collars and broad ribbon ties. Separates were popular, with skirts fitted over the hip and fluted towards the hem. Hair was worn in a centre parting, often looped around pads and false hair to create a wide 'brim' of hair around the hairline. This hairstyle was worn under vast, broad-brim hats with low crowns, and adorned all over with flowers, lace, ribbons and feathers.
Women fashion 1930’s
The S-bend corset was fashionable during the s. It thrust the hips backwards and forced the chest forward into a fashionable pouter-pigeon shape, emphasised with puffed, frilly blouses that were often embellished with decorations like lace collars and broad ribbon ties. Separates were popular, with skirts fitted over the hip and fluted towards the hem. Hair was worn in a centre parting, often looped around pads and false hair to create a wide 'brim' of hair around the hairline.
This hairstyle was worn under vast, broad-brim hats with low crowns, and adorned all over with flowers, lace, ribbons and feathers. Men wore three-piece lounge suits with bowler or cloth caps. Jackets were narrow with small, high lapels. Most collars were starched and upstanding, with the corners pointing downwards.
Some men wore their collars turned down, with rounded edges and modern knotted ties. Beards were now reserved for mainly older men, and most young men sported neat moustaches and short hair. The sitter in this photograph is wearing fashions typical of the s. Here, Baron Welby is shown in formal dress. He is wearing a frock coat, high-fastening waistcoat, starched 'winged' collar, and a top hat. His 'Portraits of Many Persons of Note' fills three volumes with nearly portraits and comprises a pictorial Who's Who of late Victorian and Edwardian celebrities.
In he helped found the Design and Industries Association, dedicated to the improvement of industrial design. His jacket is not as sharply tailored and stiff as those preferred by his more formal contemporaries, and his collar is low. Christening gown Designer unknown s, England Linen, trimmed with embroidery, lace and ribbon Museum no. It is unlikely that the Museum will ever know the true story of its presence in the bin: perhaps a dispute or even a tragedy, or maybe by then it was simply too old-fashioned?
Its lace decoration is in a style that was particularly fashionable around , but by the s, when the dress was thrown away, the latest Christening robes were often much shorter than this and made of synthetic fabrics that were easier to iron. He is wearing a jacket, waistcoat, high starched 'winged' collar, and sports a fashionable curled moustache. Though male fashions did not change as rapidly as women's, his waistcoat is fastened lower on the chest than was fashionable in the s.
Reutlinger photographers s England Albumen print Museum no. Photography was a novel and exciting development in Victorian days. Their subjects included scenic views, tourist attractions and works of art, as well as portraits. This photograph shows the actress Henriette Henriot in stylish dress. Her hair is piled in loose waves on top of her head, and is pushed slightly forwards over her forehead. Along with bicycling and croquet, golfing was a very popular sport with women of the s.
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. Sporting ensembles like this were created in warm, tailored tweeds, with skirts that were off the ground and not too voluminous. Summer day dress Designer unknown , Great Britain Printed striped cotton, with a yoke neck of tucked Broderie Anglaise frills and pin-tucked collar with a tape lace frill Museum no.
Crisp-looking blue and white dresses such as this were popular for boating and seaside wear. It is decorated with lace, frills and pin-tucks, to give a soft and feminine appearance. The bodice is ruched and draped to createa low, puffed chest shape that was very fashionable in the s, especially around Miss Firbank was young, 'had beauty, and she adorned it with exquisite clothes of a heather colour to complement her name', according to M.
Benkovitz in 'Ronald Firbank: A Biography' It features a medieval-style collar and is entirely covered in dramatic sprays of an English wildflower called 'Sweet Cicely' hand-embroidered in yellow and green silk, with petals of white felt.
The influence of the Arts and Crafts movement is apparent in this coat, hand-embroidered with sprays of an English wildflower called 'Sweet Cicely' Myrrhis odorata. In the s William Morris and other English artists rejected the dominance of the machine in British art and design. Their attempts to preserve the traditional designs and craftsmanship of textiles, furniture, ceramics and architecture created the Arts and Crafts style.
Wild flowers were popular motifs, evoking the simplicity and charm of English country life, now vanishing in the face of urbanisation and the industrial revolution. 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.
This versatile double-breasted coat made of a heavy wool would have been ideal for outdoor wear. At the turn of the century a growing interest in sports and leisure pursuits led to more relaxed clothing for men.
Comfortable clothes were needed to ride a bicycle, drive a motor car or play golf. This resulted in a range of informal styles that fed into mainstream fashion:. He has different costumes for walking, riding, driving, visiting, boating, hunting, shooting, golfing, bicycling, tennis, and cricket, dining, smoking, and lounging, football, racing, and yachting, to say nothing of uniform and the Court suit, besides the now developing motor-car costume'.
Mrs Humphry, 'Manners for Men', London This suit has two slanting hip pockets with flaps and a small ticket pocket at the waist seam on the right-hand side. Paul Cocteau'. Paul Cocteau was the brother of the French writer and film maker Jean Cocteau.
He preferred to purchase his sporting dress in England as he considered it to be the best quality. Mourning dress Designer unknown About Great Britain Wool trimmed with mourning crape and lined with glazed cotton Museum no. Queen Victoria's prolonged mourning for her husband, Prince Albert, made the practice of wearing mourning dress a social norm.
Women wore full black mourning garb for one year after losing a husband or close family member, and less strict versions for a further year. Elderly widows often stayed in mourning attire for the rest of their own lives. The practice came to an end around the time of the First World War. The skirt seen here is A-line in shape, typical of the early s.
It is trimmed with chevrons of mourning crepe. Double-breasted suit Designer unknown About Great Britain Flannel woven with a thin vertical pin-stripe, with mother-of-pearl buttons, and sleeves lined with cotton Museum no.
Light-coloured suits such as this became popular in the s. The matching coat, trousers and waistcoat in pin-striped flannel known as 'dittos' were accepted dress for summer sports and holidays. The outfit was often completed with a straw boater.
The striped jacket had originally been worn for cricket, tennis and rowing and it became fashionable for seaside wear during the s. The cut of this jacket is derived from the earlier 'reefer' coat, usually worn for sailing. The infiltration of sporting dress into informal styles of clothing shows how social conventions were relaxing in the late 19th century. Conventions in dress applied to informal as well as more formal wear.
It was important to be dressed appropriately for the occasion. One gentlemen's etiquette book wrote:. 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.
Mrs Humphry, Manners for Men, London Underpants Designer unknown Great Britain Machine-knitted silk, with pearl buttons and silk loops for braces, machine-sewn Museum no. Vests and pants were worn next to the skin, under the shirt or trousers. 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.
Pants were either ankle-length to the mid-calf, drawers were either just below or just above the knee. Some underpants were knee-length, to go under clothes for sporting wear: short pants of absorbent stockinette, for example, were worn for cycling.
The loop of tape outside the waistband through which tongues of the braces were passed became general towards the end of the period. Many men preferred to have the vest and pants combined in one. These were known as combinations and became very popular in the 20th century. Underpants were made in linen, cotton and merino, but machine-knitted silk was fashionable with the wealthy and also for summer wear. Underpants of natural coloured wool or cellular cotton were also popular as these fabrics allowed the skin to breathe.
Such materials were seen by dress reformers as the healthy alternative to silk, which they claimed trapped harmful chemicals close to the skin. By the late 19th century vests were available in a range of colours, including peach, flesh tint, lavender, light blue and heliotrope.
A typical gentleman probably owned several sets of vests and underpants. They were often initialled with the name of the owner so they could be recognised during the laundry process. By the vast majority of men dispensed with underwear altogether in the summer months. Evening dress Jays Ltd.
The dress is dominated by the boldly embroidered panels imported from Turkey and made up in London. In style this dress is transitional between the pronounced curved shapes of the early s and the straighter lines with high waists that had become current by about There is some evidence that an earlier dress may have been adapted to suit the tastes of 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.
In the early 19th century the top hat was the predominant type of headwear in a gentleman's wardrobe. It reached its peak of popularity during the s and s, when mass manufacturing and industrialisation brought fashionable dress within the reach of a much wider section of the population. 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.
By the s the top hat was relegated to more formal occasions when a gentleman would wear a frock or tail coat. Churchgoers still, to a certain extent, affect it, but in these days of outdoor life, bicycling, and so on, the costume worn by men in church is experiencing the same modifications that characterise it in other department.
The shape of the top hat appeared at the end of the 18th century. It changed in shape over time and a range of different styles appeared as the century progressed. The gibus or collapsible top hat came into fashion in the s and was often worn with evening dress.
It was made of corded silk or cloth over a metal framework which sprung open with a flick of the wrist.
The Thirties. The Wall Street crash in started a fundamental change to how people lived their lives. The previous decade showed people living beyond. The style of the sass's began with clothing that was elegant and botfly feminine.. The cloche hats of the ass's were replaced by hats with brims worn over the right.
Often regarded as some sort of stop gap between the s and the s, the s fashion era is often overlooked as a significant decade for style. Despite the Depression, it is remembered as the era of escapism, glamorous Hollywood starlets adorning billboards and as the halcyon days of radio entertainment. No less so in the beauty and clothing styles of women.
Please join StudyMode to read the full document.
The most-notorious fashion statements of the s were the black shirts and brown shirts of fascism. Yet this era of dictators and worldwide economic depression also bequeathed to us the elements of modern style. The way we dress now took recognizable shape during the s.
The 1930s – The Golden Age of Glamour for Women’s fashion.
We use cookies to give you the best experience possible. It's Free! Due to the crash of the Wall Street on October 24th many people thought that fashion was going to be crippled, but thankfully fashion continued and grew over the years. After the crash women had to sew and mend their own cloths. Stop Using Plagiarized Content. Due to this women who had great sewing skills began copying magazines and the latest fashion.
Women fashion 1930’s Essay
This interdisciplinary material culture analysis, will investigate the design, manufacture, retailing and consumption of fashion for a young working-class woman in England in the s. Society was rapidly shifting for these young women through technological, political, and economic developments. Young, employed, working-class women, however, embraced these vicissitudes and displayed them through their self —presentation. It never included older, married women, and barely affected working-class girls. These young women were engaging with popular fashions and leisure activities, and were using innovative ways to do so. By , seven out of ten entered the adult work sphere at this age. The jobs chosen by these young people would have been influenced by their parents who would pull strings, meaning young workers often found themselves working beneath relatives or close family. This was more apparent in smaller towns, but parents still imposed their influence in the cities. Prior to the Shops Act, the average earnings of a young female drapery assistant, in , were eleven shillings for a fifty-hour week, 13 with employers shockingly permitted to employ juveniles up to seventy-four hours per week.
Analysing and identifying desired outcomes. Regardless of your own follow that road map for yourself, I gave a very able pupils, shy pupils, a pupil s progress over time.
The silhouette at the beginning of the twentieth century was molded by what was considered the apex of nineteenth-century corsetry. The shape of the corset allowed the bosom to hang low and unarticulated in front while the hips were pushed backwards. A few years later, couturier Paul Poiret declared the death of the corset with a new columnar silhouette that was equal parts Orientalism and early nineteenth-century Empire line revival.
History of fashion design
History of fashion design refers specifically to the development of the purpose and intention behind garments, shoes and accessories, and their design and construction. The modern industry, based around firms or fashion houses run by individual designers, started in the 19th century with Charles Frederick Worth who, beginning in , was the first designer to have his label sewn into the garments he created. Fashion started when humans began wearing clothes. According to Life , people began wearing clothes somewhere between , to , years ago. Clothing established social status and individuality. These clothes were typically made from plants, animal skins and bone. Before the midth century the division between haute couture and ready-to-wear did not really exist. All but the most basic pieces of female clothing were made-to-measure by dressmakers and seamstresses dealing directly with the client. Most often, clothing was patterned, sewn and tailored in the household. When storefronts appeared selling ready-to-wear clothing, this need was removed from the domestic workload. The design of these clothes became increasing based on printed designs, especially from Paris, which were circulated around Europe, and eagerly anticipated in the provinces. Seamstresses would then interpret these patterns as best they could. The origin of the designs was the clothes devised by the most fashionable figures, normally those at court, together with their seamstresses and tailors. Though there had been distribution of dressed dolls from France since the 16th century and Abraham Bosse had produced engravings of fashion in the s, the pace of change picked up in the s with increased publication of French engravings illustrating the latest Paris styles, followed by fashion magazines such as Cabinet des Modes. By , all Western Europeans were dressing alike or thought they were ; local variations became first a sign of provincial culture and later a badge of the conservative peasant.
Victoria and Albert Museum
We use cookies to give you the best experience possible. Due to the crash of the Wall Street on October 24th many people thought that fashion was going to be crippled, but thankfully fashion continued and grew over the years. After the crash women had to sew and mend their own cloths. Due to this women who had great sewing skills began copying magazines and the latest fashion. This action was the of starts of necklines lowering, and skirts were being designed with greater detail 3. Pillboxes are hats that women wore at an angle.
