20th Century Fashion

Throughout the 20th century cross-cultural and historical influences exerted a profound impact upon fashion design. The styles, designs and materials of other times and cultures became more accessible to designers at first hand as improved travel and communications enabled continents to be crossed with ease. With developments in photographic and printing techniques, they were also able to glean ideas from secondary sources such as lavishly illustrated books, magazines and journals. From the 1950s European designers needed only to look around them to see a rich variety of clothing from all corners of the world.

The early 1900s marked the rise of the haute couture movement in Paris. Women of the upper classes coveted the Parisian designs, which set the tone for the rest of the Western fashion world. These designs debuted at horse races, and Vogue took on the role of informing the public about what was going on, who was going where, and what was being worn. Corsets and full skirts enhanced unnatural curves, and hats grew out of control.

However, as World War I began in 1914, attention and resources were drawn away from fashion. British Vogue launched in 1916, but the emotional and economic consequences of war were making androgynous dressing more popular.

The Wall Street Crash of 1929 kicked off the Great Depression, from which the general public escaped through Hollywood. The movies became the new glamorous medium for fashion.

As another war seemed imminent, clothing became more functional and military-inspired with square shoulders. Techniques for mass production of uniforms carried over into the creation of ready-to-wear fashion.

Once World War II was underway, clothes became even more restrained. Cloth was severely rationed. Uniforms were commonly seen in public.

Once World War II ended, newcomer Christian Dior rebelled against the austerity of the time and produced an extravagant design of a fitted jacket with a cinched waist and a full calf-length skirt using ten to eighty yards of fabric. This style, dubbed the "New Look," would prove to be a turning point in the postwar. Dior's designs became extremely popular, as women were longing to dress femininely and frivolously again.

Chanel countered the voluminous look with boxy suits and slim skirts in tweed. Synthetic fabrics (nylon, polyester, and acrylic) became more widely used because they were affordable and easy to maintain. A consumer market was born, and for the first time, teenagers became a force in
the fashion market as a result of influences such as music and film.

Materialism defined this decade, as the western world experienced an economic boom. The power suit became a symbol of the eighties, especially after John Molloy argued in his book Women’s Dress for Success that women would need such a suit to climb the corporate ladder. People flaunted designer brands as symbols of wealth. Increased use of credit cards encouraged spending. 

The creation of MTV revolutionized the music industry by turning musicians into television stars who had the power to influence through fashion and visuals in addition to music. Princess Diana also became a fashon icon during this time.

As technology made working from home more feasible and offices instituted “Casual Fridays,” fashion became more laidback and comfortable. In contrast to the excessive consumerism and gaudy color palette of the eighties, 1990s style veered toward a more minimalist aesthetic with lots of black and neutral colors. The fashion industry blossomed the most in the United States, where Calvin Klein used overtly sexual advertisements to shook a supposedly "unshakable" nation. Grunge was an alternative rock subculture that began in Seattle and spawned a style of unkempt dressing.

Victorian Era

Queen Victoria ruled England from 1837-1901.
Before this time, men were the focus of fashion, but with a queen in power, women surged to the forefront. The role of a wife became to show of her husbands status and wealth to the public, with the husband himself receding into the background.

Many different clothing styles came and went during her reign.
In the 1840's, Full skirts were supported by a vast array of petticoats. These petticoats were made of horsehair, or stiffened with cane and padding.

The natural waist could be slightly longer than natural, with points in front and behind. Most trimmings were applied in a manner that was wide at the shoulder, narrowing at the waist and then widening again at the hem of the skirt. This would accentuate the tightly laced waistline. The bodice shoulder line ended well below the natural shoulder, often pinning the arm of the wearer down. The sleeves were narrow for day dresses.Evening bodices were low off the shoulder, often covered with folds of fabric or a bertha.The overall look of the dresses did not change much during this period. The sleeves started to become wider in the 1850's. The skirts expanded in size as more and more petticoats were worn. Added flounces on the skirt would help create a wider look

1869-1876

When the hoop skirt lost popularity it was replaced by a framework known as the bustle. The overall shape was full in front and even more fabric to the back. Most dresses were trained, but "walking dresses" were just floor length.
The look was basically one of horizontal lines to the trims and necklines. Overskirts (tunics) became a must, and if one was not worn, one could be simulated with trimmings. Trimmings galore were added to all but the plainest dresses.


In 1870-1871, most bodices ended at the natural waist. The overskirt (tunic) would then be fitted over the bodice, showing a belt and often a large bow behind. A detatched basque (a very short overkirt) became very fashionable. This basque soon became attached to the bodice, and the bodices began to extend past the waist and over the hips.
Evening bodices were off-the-shoulder with trimming framing the neckline. Evening sleeves were small and decorated with ruffles, puffings and bows.

By 1873, bodices bacame longer and longer, and the polonaise was born. A polonaise is like a bodice and overskirt in one garment, in many shapes or styles. Skirts began to narrow in the front. The underskrits were often separated into sections, with the front, sides and backs trimmed seaparatley to remarkale effect.

More trimmings are added than ever before and often completly cover the entire foundation skirt.
Sleeves became narrower to the wrist, though still not tight. The two-piece coat sleeve was found on every garment. Full length sleeves were weighted with heavy complicated cuffs that could extend as high as the elbow. Often, the sleeves are cut of a contrasting fabric from the main bodice.

In 1875, the bustle began to dwindle in size, but the excess fabric remained. A more veritical line started to apear in trimmings.
For day wear, the neckline could be high (with or with out a collar), square or heart shaped ( in a "V"). Often an open neckline would be filled with a chimisette and full sleeves filled with a linen undersleeve/cuff.
Many petticoats were worn to help keep the dress from trailing throught he dirt. Often dust ruffles were added to the inside of the train to help as well.
Light weight fabrics were popular, especialy for evening wear.
The shoulder line of the bodice still extended slightly past the natural shoulder.
Another interesting style trend in 1875 is the skirt pocket. These pockets were often too low and too far back to be of any practical use, but were very much a stylish decoration. Short lived, the pocket trend only lasted about a year, after being ridiculed as a "boon to pick pockets".

1883-1889

In 1883, the bustle came back with a vengance. The skirts remained slim in front and sides, but the back ballooned out over a bustle framework.
The line was still vertical, but the bodice shortened back up to above the hip atthe sides. Beadwork and braid forming motifs begin to cover the flat portions of garments Evening dresses are all high on the shoulder, and often without any sleeve.
The back draperies are usually lifted high into poufs. All skirts are floor length except very formal wear.
Soon, poufs, swags and drapes became an art form in itself. As the drapery became more complicated, the amount of trimmings declined, as there were fewer flat places to put them.
symetrical lines are still very popular. The daytime neckline becomes very high, with a collar. Even at dinner, the neckline is more conservative. A more tailored look apears with shawl collars and reveres added to the bodices to simulate vests and jackets.

Baroque and Rococo

A significant shift in cultures occurred in France and elsewhere at the beginning of the 18th century, known as the Enlightenment, which valued reason over authority. In France, the sphere of influence for art, culture and fashion shifted from Versailles to Paris, where the educated bourgeoisie class gained influence and power in salons and cafés. The new fashions introduced therefore had a greater impact on society, affecting not only royalty and aristocrats, but also middle and even lower classes. Ironically, the single most important figure to establish Rococo fashions was Louis XV’s mistress Madame Pompadour. She adored pastel colors and the light, happy style which came to be known as Rococo, and subsequently light stripe and floral patterns became popular. Towards the end of the period, Marie Antoinette became the leader of French fashion, as did her dressmaker Rose Bertin. Extreme extravagance was her trademark, which ended up majorly fanning the flames of the French Revolution.

 

During this period, a new silhouette for women was developing. Panniers, or wide hoops worn under the skirt that extended sideways, became a staple. Extremely wide panniers were worn to formal occasions, while smaller ones were worn in everyday settings. Waists were tightly constricted by corsets, provided contrasts to the wide skirts. Plunging necklines also became common. Skirts usually opened at the front, displaying an underskirt or petticoat. Pagoda sleeves arose about halfway through the 18th century, which were tight from shoulder to elbow and ended with flared lace and ribbons. There were a few main types of dresses worn during this period. The Watteau gown had a loose back which became part of the full skirt and a tight bodice.

Elizabethan Era

The Elizabethan Era is the period associated with the reign of Queen Elizabeth I (1558-1603) and is often considered to be a golden age in English history. It was the height of the English Renaissance, and saw the flowering of English literature and poetry. This was also the time during which Elizabethan theatre flourished and William Shakespeare, among others, composed plays that broke away from England's past style of plays and theatre. It was an age of expansion and exploration abroad, while at home the Protestant Reformation became entrenched in the national mindset.

The Elizabethan Era was a highly fashion-conscious age, and prized a look that was elaborate, artificial, stylized, and striking. Men and women alike were concerned to be wearing the latest and most fashionable outfits. Elizabethan dress was gorgeous and elaborate, mirroring the prosperity and energy of the age. Queen Elizabeth herself provided an extravagant fashion model - an inventory of her clothing in 1600 included almost 300 gowns and several hundred other costumes, in addition to state apparel. Towards the end of her reign, English dress became increasingly exaggerated, following the eccentric tastes of the aging queen.



Women in the Elizabethan times had many different ways of showing their fashion styles. Elements such as puffy sleeves, tight-fitting bodices of dresses, and ruffles showed status in society. They also used different types of clothing to make themselves appear more petite than they actually were. In addition, Elizabethan women wanted their clothing to look much like that of the men, with broad shoulders, wide hips, and slim waists.

Clothing in Egypt, Rome and Greece

Egypt

Clothing worn in ancient Egypt from the end of the Neolithic period (prior to 3100 BC) to the collapse of the Ptolemaic dynasty with the death of Cleopatra VII in 30 BC. Egyptian clothing was filled with a variety of colors. Adorned with precious gems and jewels, the fashions of the Ancient Egyptians were made for not only beauty but also comfort. Egyptian fashion was created to keep cool while in the hot desert.

During the Old, Middle and New Kingdom, Ancient Egyptian women often wore simple sheath dresses called kalasiris. Women's clothing in ancient Egypt was more conservative than men's clothing.  The dresses were held up by one or two straps and were worn down to the ankle, while the upper edge could be worn above or below the breasts. The length of the dress denoted the social class of the wearer. Beading or feathers were also used as an embellishment on the dress. Over the dress, women had a choice of wearing shawls, capes, or robes. The shawl was a piece of cloth around 4 feet wide by 13 or 14 feet long. This was mostly worn pleated as well. Female clothes only changed slightly through the millennia. Draped clothing (with many varieties of drapery) sometimes gave the impression of completely different clothing. It was made of haïk, a very fine muslin.

Until the mid-Eighteenth Dynasty women wore a tight-fitting sheath dress, a simple garment that falls from just below the breasts to just above the ankles, being held up by two shoulder straps. On statues the straps cover the breasts, but in painting and relief the single breast depicted in profile is exposed. 

The dress hugs the body with no slack. Also when women are shown in movement, sitting or kneeling, the dress still clings to the outline of the body as if elasticated. However Egyptian clothes were mostly made from linen, which tends to sag. Surviving dresses consist of a body made from a tube of material sewn up one side, supported not by straps but by a bodice with sleeves. In contrast to dresses shown in art, such linen garments tend to be baggy, and would conceal rather than reveal the body.

From about 2130 BC during the Old Kingdom, garments were simple. The men wore wrap around skirts known as the Shendyt, which were belted at the waist, sometimes pleated or gathered in the front. During this time, men's skirts were short. As the Middle Kingdom of Egypt, 1600 B.C., came, the skirt was worn longer. Then, around 1420 BC, there was a light tunic or blouse with sleeves, as well as a pleated petticoat.

Children wore no clothing until 6 years old. Once they turned six years old they were allowed to wear clothing to protect them from the dry heat. A popular hairstyle among the children was the side-lock on the right side of the head. Even though children usually wore no clothing, they wore jewelry such as anklets, bracelets, collars, and hair accessories. When they grew up, they wore the same styles as their parents.

Wigs, common to both genders, were worn by wealthy people of society. Made from real human and horse hair, they had ornaments incorporated into them. They were often woven into certain hairstyles and were quite inexpensive. In the royal court, women sometimes wore cuplets filled with perfume. They were worn to also keep out head lice and protected the head when doing dangerous things.

Rome

Clothing in ancient Rome generally comprised the toga, the tunic, the stola, brooches for these, and breeches.

After the 2nd century BC, besides tunics, women wore a simple garment known as a stola and usually followed the fashions of their Greek contemporaries. Stolae typically comprised two rectangular segments of cloth joined at the side by fibulae and buttons in a manner allowing the garment to drape freely over the front of the wearer. Over the stola, women often wore the palla, a sort of shawl made of an oblong piece of material that could be worn as a coat, with or without hood, or draped over the left shoulder, under the right arm, and then over the left arm.

The dress code of the day was complex and had to reflect one's position accurately in the social order, one's gender, and one's language. Two examples were the angusticlaviaand the laticlavus. The former was the official tunic of the equestrian order and the latter was what senators wore. "The importance of official dress, even more than other distinctions, signaled the social status and rank of freeborn Romans and the public roles of magistrates and priests."

The variations of clothing worn in Rome were similar to the clothing worn in Greece at the same time, with the exception of the traditionally Roman toga. Until the 2nd century BC, the toga was worn by both sexes and bore no distinction of rank – after that, a woman wearing a toga was marked out as a prostitute. The differentiation between rich and poor was made through the quality of the material; the upper-classes wore thin, naturally colored, wool togas while the lower-classes wore coarse material or thin felt.

Greece

Clothing in ancient Greece primarily consisted of the chiton, peplos, himation, and chlamys. Ancient Greek men and women typically wore two pieces of clothing draped about the body: an undergarment (chiton or peplos) and a cloak (himation or chlamys). Clothes were customarily homemade out of various lengths of rectangular linen or wool fabric with little cutting or sewing, and secured with ornamental clasps or pins, and a belt, or girdle (zone). Pieces were generally interchangeable between men and women.

The chiton was a simple tunic garment of lighter linen that was worn by both genders and all ages. It consisted of a wide, rectangular tube of material secured along the shoulders and upper arms by a series of fasteners. Chitons typically fell to the ankles of the wearer, but shorter chitons were sometimes worn during vigorous activities by athletes, warriors or slaves.

Often times excess fabric would be pulled over a girdle, or belt, which was fastened around the waist (see kolpos). To deal with the bulk sometimes a strap, or anamaschalisterwas worn around the neck, brought under the armpits, crossed in the back and tied in the front. A himation, or cloak, could be worn over-top of the chiton.

A predecessor to the himation, the peplos was a square piece of cloth that was originally worn over the chiton. The top third of the cloth was folded over and pinned at both shoulders, leaving the cloth open down one side. Sometimes the peplos was worn alone as an alternative form of chiton. As with the chiton, oftentimes a girdle or belt would be used to fasten the folds at the waist.

Ancient Greek clothing was made with silk, linen and most often, wool. The production of fabric was a long and tedious process, making ready-made clothing expensive. It was socially accepted that textile making was primarily a women's responsibility, and the production of high quality textiles was regarded as an accomplishment for women of high status. Once made, the cloth was rarely cut. The seamless rectangles of fabric were draped on the body in various ways with little sewing involved.