INTRODUCTION

CHAPTER 1
VICTORIAN AND SECOND EMPIRE
This was a period in which the exuberance and
emotional excitement of Romanticism became
codified, restricted, repressed, and unnatural, and the
mood and manner of sixteenth-century mannerism
made itself felt in the clothing, public architecture,
interiors, and furnishings that were the style of the
Second Empire in France and the early to midVictorian Period in England. It was a period of
excessive complexity and weight in decoration and
ornament and of somber color in all areas of clothing
(except for pale pastels in womens ball dresses). In
general, life was tightly structured and organize,
clothing was layered and formal for the example
woman used cage crinoline, Amelia jenk bloomers,
Gibson blouse, pagoda sleeve, leg o mutton sleeve,
bertha neckline, fichu, bonnet, muffs, parasol, and
marry widow hat. The silhouette is fishtail and
hourglass; for the man used top hat, bowler/derby
hat, waistcoat, frock coat, tail coat, tuxedo, monocle,
deer stalker, check field, peacoat, strawhat, black tie,
bow tie, wing collar, suspender.
CHAPTER 2
LATER VICTORIAN:
THE GILDED AGE
This was the period in which neomannerist tension,
repression, and bad taste reached a peak in
furnishings and female fashion a period in which
expanding capitalism, industrialism, and imperialism
placed layered richness above artistry, beauty, and

simplicity. in truly was gilded age in which fortunes

in Europe and America were made overnight, and the
wealthy heiresses of the new world began that search
in the old for titled husband with great estates. It was
an age in which the rules of upper-class living and the
caste levels in bourgeois society became tightly
solidified and codified. It was an age of expensive,
artificial, upper-class living in which taste was
subordinated to a heavy and ostentatious display of
position and wealth. for women it was one of the
most unnatural and inhibited periods of fashion; for
men it was one of the most dull and codified
moments in the history of dress.
CHAPTER 3
LATE VICTORIAN AND EDWARDIAN:
ART NOUVEAU
This was a period when the arts and clothing
gradually began the move into the modern
technonogical age. Clothes which for over half a
century had been an anachronism in a world of trains,
industrial plants and streetcars at last began to
loosen up and move beyond the rigid prescriptions of
the Victorial Age. This was also a period when art
nouveau designs swept away the eclectic excesses of
the past in a favor of abstract organic growth lines in
interiors, furniture, and artifacts and , to a lesser
extent, in pattern motifs for female growns. Thus with
the death of Queen Victoria and the accession of
Edward VII, the last decade of elegance and gentility
began with a loosening of costume lines, a lightening
of colors, a breaking down of prescribed uniforms for
function, and an acceptance in society of many of the
sporting and business clothes that had been on the
periphery of fashion for several decades.

CHAPTER 4
WORLD WAR I AND THE TWENTIES:
EARLY ART DECO
This was a period during which fashion, particulary
for women, moved sharply into the modern world. In
1911 the remainders of the grand dame imagine
still remained with many of the decorative effects
that had been in existence since the Victorian Age. By
the end of the 1920s Woman as an active, boyish,
streamlined figure who reflected the new age of
speed, efficiency, and workship of the machine.
Because of the Great War the old, upper-class, slowpaced, genteel way of life was replaced by a sleek,
action-oriented, superficial sophistication. The old
culture which had been interested in mood,
impression, and a larger-than-life romantic ideal
disappeared in favor of a new culture in which
smooth efficiency, speed, and machine imagery were
dominant- an age in which the human figure was
both freed from the strictures of the past and
subordinated to the textures and forms of the
machine age.
CHAPTER 5
THE THIRTIES AND WORLD WAR II:
LATE ART DECO

This was a period that continued the artistic ideals of

art deco with its popularization of the decorative
effect based on the new machine image. It was a
period when some of the excesses of the 1920s were
toned down by the Great Depression and when the
new male and female ideals in manners and clothing
came from the stars of the great silver screen the
one escapist pleasure that depressed America could
still afford. The most memorable silhouettes for
women were the long, straight lines of the early
1930s, the slinky, clinging, tubular evening creations
of the mid 1930s, the boxy, square, padded look of
the late 1930s with the broad, snap-brimmed hat. It
was also a period of great repression and upheaval
that culminated in six terrible years of world war.
CHAPTER 6
1940:
THE COLD WAR
This was a period of retrenchment and consolidation
after the war and in the face of the anexieties of an
atomic age and a world with a Cold War mentality. It
was a period much like that following World War I
with its attempted return to normalcy. Clothing
continued in variations of machine imagery and
mechanized efficiency with a great stress on the use
of plastic and synthetic. There was still a great
admiration for the simple, clean, geometric lines that
one found in industrialized technology and a great
preference for smooth, polished surface and hard,
flat, or light-reflective textures. It was the era of the
man in the grey flannel suit and the woman in the
boxy suit jacket and skirt or the black A-line or H-line
cocktail dress accented with pearls.

CHAPTER 7
1950
The origins of 1950s fashion began with Christian
Diors New Look, in 1947. The New Look
consisted of a below-mid-calf length, full-skirt,
pointed bust, small waist, and rounded shoulder line.
The look became popular post WWII. At first, the
style was not well received by Americans; however,
that quickly changed as the trend dominated fashion
magazines. Other styles that became popular during
the post-war period were a tailored, feminine look
with gloves and pearls, tailored suits with fitted
jackets with peplums, with a pencil skirt. Day dresses
had fitted bodices and full skirts, with jewel or low-cut
necklines or Peter Pan collars. Shirt-dresses and
halter-top sundresses were also popular. Skirts were
narrow or very full, held out with petticoats, while
poodle skirts were a brief fad. Gowns were often the
same length as day dresses with full, frothy skirts,
and cocktail dresses were worn for early-evening
parties. Short shrugs and bolero jackets were often
made to match low-cut dresses.
Other trends seen in the 1950s are a result of the
development of new synthetic and easy-care fabrics.
Some of these fabrics are drip-dry nylon, orlon, and
dacron, which could retain heat-set pleats after
washing, acrylic, polyester, triacetate, and spandex.
These new fabrics worked well with the increasingly
popular ease of the suburban lifestyle. Another
lifestyle trend that emerged during the post-war era
was defining the teenage years as a true stage of
development. As a result of this new development,
and for the first time in American history, teenage
and young adult fashions became a new marketing
niche.

As society moved to the suburbs and adapted to a

relaxed lifestyle, fashion followed suit. During this
decade, casual sportswear was an increasingly large
component of women's wardrobes. Casual skirts
were narrow or very full; pants became very narrow,
and were worn ankle-length. Pants cropped to midcalf called houseboy pants, while shorter pants,
below the knee, were called pedal pushers. Shorts
were very short in the early '50s, and mid-thigh
length Bermuda shorts appeared around 1954 and
remained fashionable through the remainder of the
decade. Loose printed or knit tops were fashionable
with pants or shorts. Also seen during this decade
was the swimsuit, which was one- or two-piece.
Some swimsuits had loose bottoms like shorts with
short skirts.
In the 1950s mens styles were based in
conservatism. Most men wore suits for work and the
Ivy League style for a relaxed occasion. Suits
consisted of dark blue, dark brown, and charcoal; the
ties were also uniform and dark. The Ivy League style
consisted of cardigan sweaters, which was used for
the letter sweater and cherished among athletes.
Pink also became a color seen on men, which was a
result of the 1950s casual menswear. Also popular
are cowboy inspired shirts, and hats became a trendy
accoutrement.
CHAPTER 8
1960
The 1960s was a decade of sweeping change
throughout the fashion world generating ideas and
images which still appear modern today. Whereas
fashion had previously been aimed at a wealthy,
mature elite, the tastes and preferences of young

people now became important. At the beginning of

the decade, the market was dominated by Parisian
designers of expensive haute couture garments.
Formal suits for women underwent a structural
change resulting in looser lines and shorter skirts.
The shape of clothes was soon transformed by new
ideas emerging from the London pop scene. In
Britain, musical taste and styles of dress were closely
linked and it was the mod look which first popularised
the simple geometric shapes typical of the 1960s. By
the mid-sixties, the flared A-line was in style for
dresses, skirts and coats. Slim fitting, brightly
coloured garments were sold cheaply in boutiques all
over 'Swinging London' and had tremendous
influence throughout Europe and the US.

CHAPTER 9
1970
The early 1970s fashion scene was very similar to
1969, just a bit more flamboyant. It wouldnt be
hyperbole to say that a fashion revolution occurred in
the 1970s. Polyester was the material of choice and
bright colors were everywhere. Men and women alike
were wearing very tight fitting pants and platform

shoes. By 1973, most women were wearing high cut

boots and low cut pants.
Early 1970s fashion was a fun era. It culminated
some of the best elements of the 60s and perfected
and/or exaggerated them. Some of the best clothing
produced in the 1970s perfectly blended the mods
with the hippies.
By the late 1970s the pant suit, leisure suit and track
suit was what the average person was sporting. Every
woman had a cowl neck sweater in her closet and
every man had a few striped v-neck velour shirts.

CHAPTER 10
1980
The 1980s fashion had heavy emphasis on expensive
dressing and fashion accessories. Apparels tend to be
overly bright and vivid in appearance. Women
expressed an image of wealth and success through
shiny costume jewelry like large faux-goldearrings,
pearl necklaces and
clothing
covered
with sequins and diamante. Punk fashion began as a
reaction against both thehippie movement of the past
decades and the materialist values of the current
decade.
Hair
in
the
1980s
was
generally
big, curly, bouffant and heavily styled. This was in
contrast to the long and straight style worn in the
1970s. Television shows such as Dynasty helped
popularize the high volume bouffant and glamorous
image associated with it. Women from the 1980s
wore a heavy and bright makeup. Everyday
fashion makeup in the 80s comprised having lightcolored lips, dark and think eyelashes, pink and light
blue blusher.

CHAPTER 11
1990
In the 1980s, fashion was influenced by the western
economic boom. Youth culture stopped hogging the
scene as the teenage market lost impetus. The
dominant market was getting older and was also
financially secure. Demographics changed the face of
society. People were living longer and seemed to act
younger at the same time. Old industries died, while
new technologies developed and boomed.
One of the strongest looks of the 1980s was power
dressing. After John Molloy wrote his book Women
Dress For Success in 1975, corporate America took it
to heart and women began to abandon the
incomplete look of mismatched skirt, sweater or
blouse for a full jacketed sober suit. Soon the concept
came to Britain and the rest of Europe followed.
CHAPTER 12
2000
The 2000s fashion are often described as being a
"mash-up", where trends saw the fusion of previous
styles, global and ethnic clothing, as well as the
fashions of numerous music-based subcultures,
especially indie pop. Many in the industry have noted
the lack of divide between the 1990s and early 2000s
due to the continued popularity of minimalist
fashion among young people of both sexes. For the
most part, the mid-late 2000s did not have one
particular style but recycled vintage clothing styles
from the 1940s, 1950s, 1960s and 1980s for the
example is Boho-chic. Boho-chic is a combination of

nontraditional, eclectic styles influenced by gypsies,

hippies, and artistic clothing of the 1960s and 1970s.
The style is one of balance between messy and
feminine, while establishing a sense of uniqueness
and individuality. The style itself is versatile, as the
trend ranges from artsy to exquisite.

CHAPTER 1
VICTORIAN AND SECOND EMPIRE

Top Hat is a tubular shaped of hat create with velvet

Similarities:
Both top hat looks same tubular and high.
The color still used Black color
Diferencies:
On the modern picture top hat used for style but
for the old picture top hat more useable.
On the modern picture top hat not to high as top
hat in old picture.
Usually top hat used with suit but in modern
picture it can be combine with knitwear
In modern picture top hat made not from velvet
anymore but can be made by another fabric like
silk.

CHAPTER 2
LATER VICTORIAN:
THE GILDED AGE

Straw hat
a short crown hat with a regular brim. Made of woven
grass. Worn for summer.
Similarities:
Both used as head accessories
Diferencies:
On the modern picture straw hat used for style
but for the old picture it more useable.
On the modern picture used by woman but on
the old picture used by man.
Usually straw hat worn for summer but in the
modern picture straw hat can used anytime.

CHAPTER 3
LATE VICTORIAN AND EDWARDIAN:
ART NOUVEAU

Dresscoat/tailcoat
is a double/ single breasted coat with shorter part as
the front and longger at the back.
Similarities:
Both used by man
Both silhouette is the same shorter part as the
front and longfer at the back
Both is double breasted coat
Diferencies:
On the modern picture the coat more fitted to
the body combining with the tight shirt and pants
but on the old picture the coat is more loose to
the body.

CHAPTER 4
WORLD WAR I AND THE TWENTIES:
EARLY ART DECO

Houndstooth pattern
is a duotone textile pattern characterized by
broken checks or abstract four-pointed shapes, often
in black and white, although other colours are used.
Similarities:
Both using black and white color
Diferencies:
On the modern picture that pattern apply to the
knit fabric but on the old picture usualy using the
woven fabric.

CHAPTER 5
THE THIRTIES AND WORLD WAR II:
LATE ART DECO

Fedora Hat
The hat is typically creased lengthwise down
the crown and pinched in the front on both sides.
Similarities:
Both using dark color
Both is the same silhouette
Diferencies:
On the modern picture that didt used ribbon, but
an the old picture used it.
On the modern picture that hat used not only
useable as hat and cover head from weather but
more used as a style but in the old era this is
more useable.

CHAPTER 6
1940:
THE COLD WAR

epaulette
a type of ornamental shoulder piece/ decoration use
to fasten insignia/ emblem
Similarities:
Both attach on the shoulder
Both is ornamental shoulder
Diferencies:
On the modern picture that epaulette used by
woman but in the old picture that usualy used by
man .
On the modern picture that used for the
accessories but in the old picture used to fasten
insignia/ emblem

 On the modern picture that not part of the

clothes but in the old picture is part of the
clothes.

CHAPTER 7
1950

Duck Arse
a hair cut that was popular in 1950s its also
called the ducks tail, the ducktail or simply D-A.
Similarities:
Both is a hair style looks biger in the front of
head and sometimes cover the forehead.
Diferencies:
On the modern picture that hair cut is more flowy
than the old picture is more stiff.
The modern picture didnt used sideburn than
the old picture.

CHAPTER 8
1960

Psychedelic Pattern
means mind manifest, is an art movement of the late
60s having the vivid colours and complex patterns
popularly associated with the visual effects of
psychedelic states
Similarities:
Both is a having vivid colours and complex
patterns
Diferencies:
On the modern picture that pattern combining
with the more than one pattern and put in
together as a clothes in the old picture is only
one pattern with blend color.

CHAPTER 9
1970

Dreadlock
are matted coils of hair. Most dreadlocks are usually
intentionally formed. Dreadlocks are associated most
closely with the Rastafari movement.
Similarities:
Both are matted coils of hair
Diferencies:
On the modern picture that hair used by woman
but in the old picture is used by man
On the modern picture hair is dye by colourfull
color but in the old picture is used by natural
color of the hair.

CHAPTER 10
1980

Flattop Hair
is a type of crew cut where the hair on the top of the
head.
Similarities:
Both is used by man
Diferencies:
On the modern picture that hair used by white
man but in the old picture that hair used by black
man.

CHAPTER 11
1990

Eclectic
deriving ideas, style, or taste from a broad and
diverse range of sources.
Similarities:
Both is used by man
Diferencies:
On the modern picture the silhouette is more
fitted than the old picture.

CHAPTER 12

2000

Heringbone Pattern
is an arrangement of rectangles used for floor tilings
and road pavement, so named for a fancied
resemblance to the skeleton of a fish such as
a herring.
Similarities:
Both is still used herring pattern
Both can used by man and woman
Both usualy used for suit
Diferencies:
On the modern picture the pattern is a little bit
diferent than the old picture.