Decade by decade ……

20th century

- Likhitha Sai Potu

20201BDF0009
 Fashion back then……

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 Great Gatsby era ……..
The decade of the 1920s in the United States was nicknamed the Roaring Twenties. It gained this moniker due
to the coalescence of trends in early 20th-century economics and culture. Western society, including the United
States, experienced a significant economic boom in the years following the end of World War I in 1918.
This era was marked by the arguable beginning of consumer culture in the United States, and a plethora of new
inventions became available to families. From toaster ovens and refrigerators to washing machines, families
could now afford appliances that made their everyday lives easier. They could spend all of that extra time driving
around in cars, which thanks to nearly two decades of production by Henry Ford's assembly line and other
automakers, were now affordable. In addition, when the price of appliances and other machines proved too
costly for some, in-store credit was widely available to virtually anyone who asked.
This economic boom coincided with a relaxation of American society's moral codes. Women in particular
rebelled against the country's social mores in this period. Traditionally expected to get married at a young age
and then become largely domestic creatures occupied with keeping house and having children, many young
women in the 1920s eschewed that path. Instead, young women, especially in large urban centers, began going
to social clubs and engaging in other activities, like drinking alcohol or smoking cigarettes, which traditionally
were only done in public by men. They also chose to wear hats, shorter skirts (still far longer than fashionable
skirts today), and boots that they often left unbuckled, earning these women the nickname flappers.
 Influenzaaaaa…….
Tremendous change , throughout the 20th century cross cultural and historical
influences exerted a profund impact upon fashion design .
The styles , Designs , and materials of others times and cultures becomes more
accessible to designers at first hand as improved travel and communications enabled
continents to be crossed with ease . People wanted to emulate their favourite stars , like
Mary Pickford and Douglas Fairbanks . The 20’s was a time when people started
recognizing the works of different fashion designers .
Women's fashion was influenced by designer Coco Chanel and actress Marlene Dietrich .
Throughout the century , fashion has been influenced by the times – war , politics ,
social movements and more . Not only the clothing have changed but the hairstyle ,
fashion accessories and many more .
Early 20th century
The early years of the 20th century it is the clothes designed by Paul Poiret and
Mariano Fortuyn that reveal the richest evidence of historical and multicultural
sources. Paul Poiret was much influenced by the art and design of the Middle East
and India. In about 1910 he visited the V&A to study Indian turbans and, just weeks
later, his haute couture adaptations were on sale in Paris. For his Thousand and
Second Night fancy dress ball of 1911, Poiret dressed his wife in a wired lampshade
tunic over harem trousers. This was to provide the inspiration for his more restrained
`Sorbet' ensemble of 1912. Fortuyn was inspired by a variety of cultures and historical
periods and freely combined East Asian, Coptic Egyptian, North African, Classical
Greek and Renaissance sources. His finely pleated, black `Delphos' dress derives from
a statue of a charioteer found in Delphi. The form of jacket worn with it was said by
Fortuny to be suggested by the kimono. When laid out flat the jacket is rectangular in
shape; the side seams stop short of the shoulders to create the arm holes. It is made
from silk velvet, widely considered to be the most noble of Renaissance fabrics. The
small naturalistic design, printed with metallic pigments, was also inspired by 16th-
century Italian textiles.
During the early 1920s, couture houses embellished evening dresses with
embroidered and beaded decoration in Chinese style or like that in Russian peasant
tradition. In direct contrast, fashion in the 1930s saw a move towards a more
feminine silhouette, with bias-cut clothes in smooth fabrics emphasizing the natural
contours of the body.
The late 1930s and the Second World War
The late 1930s witnessed a move away from this body-skimming line in favor of
historically inspired corseted dresses with crinolines and bustles for evening wear.
This trend can be seen in Molyneux's pale-pink ribbed-silk evening dress of 1939
which has a double-tiered full skirt held out by four bone hoops. A less extreme
example of the vogue for period revivalism can be seen in Elsa Schiaparelli's black,
satin-backed rayon marocain evening suit of 1938. (Marocain is a heavy crepe
fabric.) This ensemble's leg-of-mutton sleeves, tight bodice with nipped-in waist, use
of marocain fabric and ostrich feather-plumed hat were all features of late
nineteenth-century fashion. However, the rayon fiber and the bold plastic 'Lightning'
zip from ICI were progressive and characteristic Schiaparelli touches.

During the Second World War clothing was subject to quantitative and design
restrictions that aimed to conserve scarce resources while also retaining some
element of style. These clothes, produced within the Utility scheme in Britain and
under L85 regulations in America, do not reveal any marked historical or cross-
cultural influences.
After the Second World War ……
In 1947 Christian Dior launched his New Look collection which, in direct contrast to
wartime clothing, reveled in the unashamed luxury and corseted styles of the late
19th century. His `Bar' suit from the spring of 1947 in cream silk tussore and fine
black wool crepe is made to fit a tiny 45.5cm corseted waist and exploits just under
7.5m of fabric in the skirt alone. Although a minority of women considered it
anachronistic, the New Look was a resounding success among the war-weary
population, for whom it evoked the stability of a previous era and embodied hopes
for a better future. The promotion of an exaggeratedly feminine figure was in
keeping with the prevalent view that women should give up the paid employment
they had undertaken as part of the war effort and return to the home.
1960s to 1990s
From 1960 to about 1967 fashion celebrated modernity and scientific progress. However, in spite
of the use of new materials and space age imagery, the short shift shape of womenswear
dominant at this time can be traced back to the 1920s. The surface patterning of this period also
had historical sources: the swirling forms of psychedelia had roots in turn of the century Art
Nouveau designs.
By the late 1960s optimism turned to concern as rising inflation, unemployment and
environmental issues came to the fore. Designers began to look to nations of the so-called 'Third
World' for inspiration and nostalgically turned to the past, especially the 1930s and '40s, for
stylistic guidance. In the luxurious world of high fashion Bill Gibb became famous for his clothes
embellished with applique and embroidered designs. A full-skirted 1972 dress with matching
turban reflects the mood for clothing with a gentle ethnic influence. It is made of patchworked
cotton fabrics designed by Susan Collier and Sarah Campbell for Liberty and has applied leather
thongs and streamers.
After the hard imagery of late 1970s punk, Vivienne Westwood created her nostalgic, neo-
romantic Pirate Collection. The pirate outfit, consisting of tunic top and sash, waistcoat, jacket and
trousers with bicorne (two-cornered) hat and heavy boots from 1980 draws on a variety of
historical and cultural sources. For example, the long slits in the arms of the jacket refer to the
16th- and 17th-century fashion for slashed fabric.
The Japanese designer, Issey Miyake, shows an interesting combination of influences in the 1990
dress `Rhythm Pleats'. The fine pleating is reminiscent of Fortuyn . However, the choice of fabric
(a hi-tech polyester and linen mix which is baked in an oven to set the pleats) means that the
garment forms angular, sculptural shapes on the body, rather than clinging to it as the Fortuyn
does. The lack of concern with revealing the body and the simplicity of the basic shape - when laid
out flat the dress forms a rectangle - are evidence of East Asian traditions.
Important style moments of 20th century
Feathered hat
The "Plume Boom," the popularity of wearing real feathers in hats reached its peak
in the early 20th century. According to The Smithsonian, women adorned their hats
with feathers, wings, and even full taxidermized birds. This caused a huge decline
in the bird population, and even led to the extinction of some. The popularity of
wearing real feathers in hats reached its peak in the early 20th century. According
to The Smithsonian, women adorned their hats with feathers, wings, and even full
taxidermized birds. This caused a huge decline in the bird population, and even led
to the extinction of some. William Hornaday, director of the New York Zoological
Society and formerly chief taxidermist at the Smithsonian, said that in a short nine-
month period, the London feather market used up to 130 thousand Egret birds.

Edwardian Corset
The Edwardian corset was meant to accentuate a woman's breasts and hips, while
cinching the body at the waist, and dramatically curving the back. With the busk
now being positioned straight down as opposed to inward, women were finally able
to breathe a bit better. This takes the idea that pain is beauty to a whole new level .
Puff Sleeves
Moving away from the Chanel "garconne" look of the 1920s, women of the this
decade returned to more feminine shapes in their wardrobes. The puff sleeve was
said to help bring back the curves of a woman’s body, while also helping to create a
curve if the woman didn’t have one. According to Elizabeth Leese in Costume Design
in the Movies, Joan Crawford wore a puff-sleeved gown in the movie Letty
Lynton which popular department store Macy’s replicated--and they ended up selling
500 thousand dresses nationwide.

The Poodle Skirt

With the end of the war came the end of rationing and the beginning of a
generation of rock ‘n’ roll dancers. These dancers craved clothing that was
moveable, and the poodle skirt allowed them to dance without any restriction.
Termed "poodle" skirt because many of them sported an image of the dog on the
hem, these knee-length skirts were often worn with cardigans, neck scarves, bulky
belts, frilly socks, and oxfords.

Floral Dresses
As the over-the-top style of the '80s faded, the '90s welcomed a much more laid-back
look. This was the first time in history that people were going to work in something
other than a suit--people were more interested in comfort. People began boycotting
brands and there was a decline in upscale clothing. Instead, women wore unfitted
floral dresses and paired them with big hair, jean jackets, Keds, and ankle socks.
Saddle Shoes
The saddle shoe was initially created for sporting purposes in the early 1900s, but
with the onset of dances like the Lindy Hop and the Jitterbug in the '50s, they
became the choice footwear. These shoes, much like oxfords, were acceptable for
both sexes to wear and came in a variety of colors .

Pearls
While pearls had been popular among upper classes since the Middle Ages, the '60s
brought about fashion pearls that were much less expensive, usually made out of
plastic. These pearls were supposed to convey social status, while also promoting
femininity and class Pearls weren’t the only iconic piece of wardrobe on the set of
Audrey Hepburn’s best-known film. Her black dress made such a splash that in
recent years; it sold for nearly a million dollars at auction.

Cat-Eye Glasses
These Hollywood glam glasses were made popular by Marilyn Monroe in the 1953
film How to Marry a Millionaire. These specs became more of an accessory than a
necessity for women in America.
Designers back then…….
•During World War II, attention shifted to American designers. These designers
included Claire McCardell and film designer Adrian. Norman Norell and Pauline
Trigger also found the spotlight.

A theatrical designer Leon Bakst collaborated with Sergei Diaghilev in the

creation of Scheherazade costumes for the Ballet Russes. The vividly colored
exotic costumes caused a sensation when the production was performed in Paris
in 1909. The vogue for “Orientalism” in Western fashion further solidified by this
event.
Bakst’s costume designs had a profound impact on the Parisian fashion houses
including Poiret, Worth and Paquin.

Paul Poiret defined Edwardian fashion with garments such as the hobble
skirt (Left) and the mineret tunic(Right). He is credited with disposing of the
corset and leading the other Parisian designers in the use of Oriental influences.
A fabulous self promoter, he takes the credit of being the pioneer of these ideas.
Mariano Fortuny was not a fashion designer but an artist , creating wearable art that was
highly influential on the fashion world. His delphos gown was made of “magically” pleated
silk that only his salon could clean and repeat correctly. Inspired by the classic lines of ancient
Greece, these timeless gowns are prized collector items today. It is often forgotten that
Fortuny also created wonderful silk velvet garments that are often more intricate and more
impressive than the Delphos gown

Gabrielle [ Coco Chanel ] defined 1920s fashion. Among her innovations were “the little black
dress” (the first black dress not intended to be worn for mourning or a funeral). While she is
often identified with practical clothes, she also had a vogue for ultra feminine lace dresses–
especially in the 1930s. Chanel also promoted a trend for large costume jewelry and long
strands of beads.

Madeleine Vionnet placed an emphasis on

the cut of the gown rather than applied decoration. She is given credit for originating and
mastering the bias cut, defining early 1930s fashions. The bias cut is a technique of cutting the
garment to utilize the diagonal direction of the cloth which has a natural stretch and gracelful
drape. This technique allowed the garment to accentuate and cling to the curves of the female
body. Vionnet successfully brings back the natural female shape.

Elsa Schiaparelli was known for smart, sophisticated witty clothes that often incorporated
surrealist details. With a flare for theatricality, she often emphasized color and unusual decorative
effects. These included the use of zippers, skirt and sweater combinations, and frequent use of her
signature color–shocking pink.