HISTORY OF FASHION

PREHISTORY

During the Paleolithic period (2,500,000 to 10,000 BC), nomadic man, to protect himself from the
elements and nature, began to cover himself with the skins of the animals he hunted for food. The
hides had to be shaped and prevented from decomposing, which is why the first tanning processes
were born, which were extremely rudimentary. Women were tasked with chewing the skins until
they were fit for use. Fortunately, it was quickly discovered that they could also be smoked, soaked
and tanned with specific plant or animal substances.

For prehistoric man, the primary need for protection quickly becomes a way of standing out and at
the same time grouping together, so the act of dressing and even adorning oneself begins to take
on another symbolic dimension and to function as a differentiating element of sex, social activities,
ages, roles, etc.

With the arrival of sedentary life in the Neolithic period (10,000 to 3,000 BC), man became socially
organized and established himself with fixed dwellings, crops and livestock breeding. No longer
does he have to chase and hunt animals to survive, he now begins to produce his own food and
exploit its by-products.

With the invention of the loom, women began to weave sheep's wool and spin plant fibers such as
cotton, linen or hemp. This is how the first suit was born, which was simply a piece of fabric that
came off the loom and was wrapped around the waist and accompanied by another square of
fabric that was placed over the shoulders and fastened with clasps. The SARONG, a kind of
primitive skirt, was worn by both men and women and is the first example of this OPEN DRESS
SYSTEM that was used until the fall of the Roman Empire. This system will be characterized by not
using molds, cuts, or seams to assemble the garments, which are simply placed on the body and
fastened in different ways. The pieces of fabric will increase in size as they begin to fold and drape
more and more, becoming one of the ancient symbols of civilization and status. The closed, fitted,
tight-fitting suit with trousers (only worn by nomadic steppe peoples on horseback) will be
considered barbarian.

The transition from using skins to the first fabrics will be slow, since in order to achieve larger sized
cloths the loom will have to be gradually perfected.

MESOPOTAMIA

The Mesopotamian peoples (Assyrians, Chaldeans, Phoenicians, Babylonians, etc.) used square
skirts and shawls woven with fleeces of wool, cotton or linen. These fleeces will begin to descend
towards the edges of the fabrics and will thus become the first fringes in history. Later, robes with
decorated sleeves for the exclusive use of high dignitaries and flexible leather boots were added.

Characteristic of this period are the tufted skirts made with fabrics that imitated the appearance of
symmetrical wool fleeces, often forming a series of ruffles.

From then until the middle of the 20th century, the upper classes (kings, priests, nobles, etc.)
would have the privilege of dressing and adorning themselves first, being copied by the rest of the
social classes and reinforcing their power (political, social or economic) through the exclusive use
of expensive and handcrafted raw materials. In the statuettes and images that have come down to
us from ancient times, we can see various examples of male clothing, as there are few images of
female clothing. Likewise, in those that have been found, it is observed that the majority wore
“dresses” with locks that were tied above the bust. There are records showing that the Assyrians in
1200 BC already forced women to cover their faces with veils.
EGYPT

In ancient Egypt (5,000 to 100 BC) dressing and wearing shoes were a class privilege, the lower
classes and slaves barely wore a tattered loincloth and went strictly barefoot. The upper classes
(pharaohs, priests, nobles) wore garments woven from linen or vine leaf fibers. Linen, cool and
easy to wash, was considered a sacred material as it was used to make the bandages used to wrap
mummies; while wool was forbidden and classified as impure because it was an animal fibre (only
animal skins and hides were used). Linen garments were usually 1 metre twenty long, since that
was the measurement provided by the weavers' outstretched arms. There is evidence of weavings
made by leaving hollow threads on the weft (like loose loops) to give the fabrics a fluffy
appearance; it is assumed that they could have been used as towels.

During the Old Kingdom (before 1500 BC) the characteristic garment worn by powerful men was
the SCHENTI, a piece of fabric resembling a skirt that was tied around the waist with an embossed,
embroidered leather belt inlaid with precious stones called a NEKET. High dignitaries wore them
pleated and heavily starched. Pleats were made by stretching damp fabrics over a grooved board,
then folding them by hand and minimally stitching the lines created. Ironing is believed to have
been done with stones heated in the sun or direct fire.

Later, during the New Kingdom, the pharaohs added to their attire a long, semi-transparent tunic,
made from a single piece of fabric, called KALASIRIS, which could have fringes on its edge. In this
way the TALAR SUIT is created, which will be used by high dignitaries on special ceremonial
occasions.

Women wore the so-called FEMALE KALASIRIS, which was like a long skirt that wrapped around the
body from the armpits to the ankles. The way of holding this kind of "ancient sarong" could vary,
taking one shoulder or tying it at the back with straps and leaving or not leaving one breast
exposed. We must bear in mind that at that time social or moral norms did not place an erotic
emphasis on the female bust, so there was no problem in leaving them visible to everyone. This
feminine garment was also worn pleated and accompanied by large pectoral necklaces, short capes
or semi-transparent tunics (HAIK) with sleeves and fastened at the waist with belts similar to the
NEKET. Some images also show the use of so-called sheath dresses with a mixture of threads of
different colors and even gold leaf in their fabrics. The clothes were light, fresh and light-coloured
(the most common shades ranged from pure white to a faint milky tea colour), so the material and
even visual weight was placed on the elaborate and massive jewellery made of gold and precious
stones, on the wigs and headdresses and on the make-up, used indiscriminately by men and
women.

GREECE

Certain characteristics of ancient Greek society (1,200 BC to 146 AD) were to strongly influence the
properties of the clothing worn by the inhabitants of the numerous city-states that at that time
made up the country we know today as Greece. The cult of the fully worked male body due to the
physical exercise practiced by athletes and warriors, the social role of women, who were not even
considered citizens, and the open practice of male homosexuality, were to determine forms of
clothing with simple lines that highlight the figure and show the contour in the case of men and
that almost completely cover the body in the case of women.

The costumes consisted of rectangles of fabric of varying size that were rolled or hung from the
body without cutting the fabric for this purpose. The linen or wool cloths were arranged over the
body in such a way as to create multiple folds, gathers and drapes, thus representing the typical
fluting of columns on the body. As the clothing system continued to be open, these folds were
achieved by using large quantities of fabric, numerous cinches made with ribbons and gold
brooches called fibulae, by placing wet clothes on the also wet body and by using lead balls that
ensured the fabric would fall perfectly. For a long time it was believed that the Greek costume was
white or the natural colour of wool or linen. This common error has its origin in the fact that both
the architecture and the ancient sculptures that were discovered had lost their initial colour,
leaving only the white marble visible. After extensive research, it has finally been shown that Greek
clothing was very colourful and had numerous embroidered decorative motifs, most of which came
from the ornaments of their architecture (ovas, frets, flowers and animals). Sometimes the lower
classes dyed their clothes a reddish brown (a practice that was viewed with disapproval by the
Athenian authorities), the upper classes, on the other hand, preferred to incorporate bright colors
such as red, yellow, green or purple.

The basic garment for both men and women was the CHITON, which they wore down to their
knees and generally fastened over one shoulder, while women wore it down to their ankles,
fastened on both shoulders and with large drapes over the chest, waist and hips. Drawing a parallel
with the styles of columns used in architecture, the chiton could be DORIC or IONIC, the first was
made of wool, heavy and much simpler; while the second, made of linen, was light and much more
draped.

To go out into the street, women had to cover themselves with a long cloak, the PEPLOS, which
was wrapped around the torso, over the shoulders and arms (due to Roman influence, it also
began to cover the head). The man also covered himself with a cloak, whose symbolism was
hierarchical, and whose shape and name could vary: the HIMATION was an extremely long cloak, 3
meters wide by 1.5 meters long, which covered almost the entire body; the CHLAMYDE, on the
other hand, was a short cloak worn by young people, athletes and soldiers, often without the
chiton underneath. In Greece, luxury did not imply fashion, but social position.
ROME

The Roman Empire (753 BC to 476 AD) will open trade lines with the Far East that will allow the
entry of such rich materials as silk from China, gold, silver, silk threads and new dyes, which will be
taken by the upper class to create extremely ornate and distinctive clothing. The original linen
pampanillas were replaced by a TUNIC sewn on both sides, combining the Greek chiton with the
influences that came from the barbarian peoples. Men wore it down to the knee, except on special
occasions such as weddings when it reached the feet, and was fastened at the waist. Two
overlapping tunics were used: an inner one, the SUBCULA, and an outer one, the EXTERIODUM OR
CARACALLA tunic. When the outer garments had elbow-length sleeves they were called
DALMATICA for men and STOLA for women; when they had embroidery, they were called TÚNICA
PALMATA.

Patrician citizens, members of the upper classes, senators, judges, or governors, covered their
tunics with the TOGA (soldiers and workers wore them as their only garment), the male
hierarchical mantle that became one of the characteristic garments of the upper classes of the
Empire. To wrap this enormous semicircle of cloth (approximately 5 metres in diameter) around
the body required considerable skill and in practice made any type of physical activity impossible.
Senators wore it white, patrician boys wore it with a purple border (toga pretexta), but upon
reaching puberty, in a ritual ceremony, it was replaced by another completely white one: the toga
virilis. The mourning robe was dark in colour and was sometimes worn over the head, as in certain
religious ceremonies. Around the year 100, the toga began to shrink and was transformed into the
PALLIUM with a more religious meaning, and then formed a richly embroidered band of cloth that
was placed around the neck and fell over the chest: the STOLE.

The female costume was very similar to the male one, although the tunics were much longer. At
first it was made of wool, then linen and cotton were incorporated and later silk; the preferred
colours were red, yellow and blue (in very light tones) and the ornamentation was completed with
rich embroidery and gold edges. To leave the house, the outfit was completed with a large
rectangular cloak quite similar to the Greek one called PELLA and a veil that had to cover the head.

BYZANTIUM (330 AD to 1460)

When the Western Roman Empire fell to the barbarians in 300 AD, the Eastern Roman Empire was
isolated and transformed into the Byzantine Empire, which became the natural center of trade
with the interior of Asia. Eastern influence, Christian mandates and Greco-Roman heritage
combined to give rise to typologies of tunics and cloaks cut from heavy, worked oriental fabrics:
damask, silk, gold fabrics. The simplicity of the ancient Roman costume was replaced by the
cheerful colours of stripes, tassels and jewels of the East, but with a very precise function: to hide
and obscure the body, leaving only the eyes exposed as a reflection of the soul. The suit thus
acquires a strong hierarchical and ecclesiastical character whose principles of seduction and utility
are completely annulled. The typologies, the same for both men and women, are based on the use
of a double tunic (the first with narrow sleeves and the second, with wide sleeves that cover the
wrists, inlaid with precious stones and called a dalmatic), which can be differentiated in each sex
only by the position of the belt. The picture was completed by a semicircular cloak that was
fastened at the shoulder with a large jeweled buckle or brooch called CLAVUS.

The Empress and the Emperor had to wear the Imperial mantle, richly embroidered and purple, a
color that only they could wear due to their hierarchy. The level of embroidery reached such
extremes that there are historical descriptions that narrate the existence of senatorial cloaks that
had complete series of motifs depicting scenes from the life of Christ. The ecclesiastical aspect was
to dominate all court attire, especially that of the Emperor; such was the symbolism that his
clothes were not personal but social attire.

All the types of garments developed in Byzantium (mitre, chasuble, tablion) would gradually
become completely liturgical garments and would disappear from civil attire well into the Middle
Ages. Today, several of them can be found both in the attire of the Catholic Church and in the
clothes of Orthodox priests.

THE BARBARIAN PEOPLES (1st century AD to 4th century AD)

This multitude of peoples (Mongols, Vikings, Goths, Franks, Celts, etc.) always inhabited the north
of the current territories of Europe and Asia. They were nomads and had always been the eternal
enemies of the other Mediterranean civilizations. They lived by plundering other people's lands
and property and fought against the Romans for centuries until they finally managed to overthrow
that fabulous and rich Empire. Since they came from extremely cold climates and traveled on
horseback, they had always implemented A CLOSED CLOTHING SYSTEM for their clothing. They
mainly used skins and were the creators of the so-called felted and “Scottish” fabrics (Each town
wore ITS “National” colour to identify itself: For example: The Irish wore all shades of green, the
Germans wore yellow and orange, the English wore all shades of red) and they created the “Kilt”
skirts for both sexes, used today in Scotland and in private schools. This technique originated in
Central Asia and is based on placing overlapping rows of combed and moistened wool or hair on a
mat which is then rolled very tightly. This cylinder is then hit hard with a stick to make the strands
stick together and form a compact felt-like cloth (warm, flexible and durable) that can be cut and
sewn to give it shape. These materials were used to make short tunics for men with sleeves that
reached to the knees, which were held in place with belts and could be lined and edged with
leather. They were accompanied by loose "pants" (actually: tanned leather wrapped around the
legs and tied with thin leather strips, all along) that could reach the knees or ankles and with parka-
type coats.

Women wore undershirts and long double tunics embroidered with guards, brooches and leather
belts. The outfit was completed with cloaks and long veils that sometimes reached the knees. Here
begins, with the Barbarians, the “Art of Weaving”.

THE MIDDLE AGES (500 to 1,500)

The fall of the Roman Empire and the barbarian invasions deeply complicated the social, political
and economic situation in Europe. During the first years (473 to 1000) the Roman and barbarian
clothing typologies were maintained and cultural mixes began to be seen that timidly began to
form new typologies. Only ecclesiastical and military clothing will experience rapid development,
the first due to the consolidation of the Catholic Church and the founding of the first monastic
orders and the second due to the constant wars with the barbarians and the development of the
Crusades.

It is important to be able to place the birth of armour and chainmail in this first period of the
Middle Ages because during the 20th century designers such as Paco Rabanne and Versace would
take them as historical significance for their collections.

With the barbarian forces weakened, peace comes to the territories most affected by the invasion
and the future European countries begin to organize themselves as such; cities are rebuilt, trade
networks are reorganized and money begins to circulate again. During the so-called Gothic Period
(1000 to 1400) the commercial bourgeoisie began to emerge as a new powerful social class,
standing between feudal and ecclesiastical power, and began to generate new types of clothing to
differentiate itself. These new garments will incorporate silhouette-lengthening details that will be
directly related to the spiritual character and the totally religious art of the moment.
Men replace the tunic with short jackets (JUBONES) that are fastened with front buttons, have
armed shoulders and chest (PERPUNTE), a tight waist and a small skirt that barely covers the hips.
The doublet is accompanied by the so-called FLAT-BOTTOMED BRIEFS (the man permanently closes
his clothing system) that fit the body and are held in place with ribbons tied underneath the
doublet. At first, leggings were called hip tights because they were like knitted leg gloves that were
worn separately on each leg, leaving the crotch exposed. The ecclesiastical authorities raised an
uproar and a triangle of fabric was quickly placed between the legs to join them together; this
triangle of fabric was called a braie and during the Renaissance it gave rise to the codpiece.

The coats worn by the upper classes were the HOPALANDA and the COTARDIA, the first was a
wide and elegant coat with very wide sleeves, a high collar up to the ears, a hood and a fur lining;
while the second was worn buttoned in front from the neck to the feet. The hoods of the coats
began to become independent to create one of the typical headdresses of the time: the LIRIPIPE, a
kind of undone turban that had a two-metre-long tail, which was usually worn crossed over the
chest and falling from the shoulder down the back or wrapped around the right arm.

The image of the woman will continue to be largely camouflaged with religious images, so that her
silhouette will be hidden and erased behind meters and meters of fabric of her double tunics and
cloaks. Long trains and flared sleeves that reach the floor are common, as are cuts on the sides of
the so-called SURCOTE models to show off both fabrics. Towards the 15th century, already
heralding the Renaissance, the tunic was replaced by the ROBE: a one-piece suit fitted to the torso,
with bows at the back, a wide skirt with a long train of up to 5 metres, a marked waist and a
flattened stomach by the interior addition of metal or ivory plates (direct antecedents of the
corset).

Ladies will also wear various extravagant hats and headdresses, accompanied by veils and
sometimes tied to the chin with a ribbon of silk, chiffon or velvet in black or gold:

TURBANS

• TOCA: a square cotton or linen cloth that reaches to the shoulders and can be worn held by
a crown
• HENIN: a tall cone or bonnet from the tip of which a piece of gauze hangs down.
• ESCOPHION: tall headdress in the shape of horns
• SAUSAGE OR HEART HEADDRESSES: stuffed with fabrics
• BUTTERFLY HEADDRESS: made with wires or fine wood.

During the 14th century, the rise of tournaments and parties of the powerful classes generated
even more extravagant fashions and some of the outfits began to be called disguised dresses to
differentiate them from those for daily or common use: the dresses and tights were brightly
coloured, divided with checkers or diamonds, one leg and one shoe of each colour were used; the
ladies embroidered their family coats of arms, emblems and love songs on their dresses
(HISTORIED STOLES). The edges of the doublets are festooned with leaves or petals and small silver
bells are added to belts, hoods, tips of the long shoes (GAITCHES) and the hems of the dresses.

RENAISSANCE (1450 to 1650)

The universal character that dominated the entire European territory since the Roman Empire will
disappear definitively in this period. Each nation will begin to differentiate itself as such, so the
need will arise to generate its own styles that will always reflect the power and wealth of the
reigning houses (Italy will do so through the magnificence of its clothing, Spain, on the other hand,
due to its great religious influence, will continue to lean towards medieval asceticism through the
constant use of a non-colour: black).

Religious power will give way to monarchical power; this fact will profoundly influence the
appearance of clothing, which will become completely hierarchical and symbolic. The upper and
ruling classes will begin to transform their body figure using artificial implements that, while
highlighting the attributes of each sex, emphasize their social position, since it prevents them from
any approach to manual work. The dominant visual line goes from vertical to horizontal; one must
never forget the golden rule of fashion sociology: the more space a person occupies, the more
hierarchical their figure is.

The three artificial elements that emerge in Spain to modify and completely assemble the figure
are: the CORSET, the VERDUGADO or skirt frame and the GORGUERA or GOLILLA (used by both
men and women). When Spain imposed the color black in fashion, the WHITE ruff or collar also
served to counteract the black. The corset was placed on girls when they turned ten years old and
its purpose was to increase the waist measurement to 30 cm. in diameter, in a few years the young
girls' bones would be completely deformed and their health seriously deteriorated, but their
breasts would appear raised to the height of their collarbones and their hips would appear
prominent on both sides. The corset used in England will be different from that used in other
countries because it will end in the shape of a sharp peak over the abdomen.

The skirt frame imposed by Spain is called VERDUGADO because it was made with wooden hoops
made from the bush called verdugo; these were sewn, in decreasing order from top to bottom,
into a heavy canvas petticoat so that the final shape was a kind of cone. France copies the Spanish
verdugado but changes the conical shape to that of a drum and calls it VERDUGADO DE RUEDA DE
CARRO or French. Italy also copies Spain but raises the conical shape at the back by adding a
cushion placed on the tail (ITALIAN VERDUGADO). In England, the use of the BUM-ROLL
VERDIGUADO was imposed, made up of a padded cloth that, like a kind of giant crescent moon,
was placed over the tail and hip and tied at the front.
The RUFF, a typical hierarchical component of the dress, had the purpose of continuing the
construction of the figure also in the upper part of the garment but above all to prevent the
movement of the head, which remained permanently upright in an attitude of disdain and made it
almost impossible not to look down on any subordinate who crossed the path of kings, nobles and
aristocrats. The ruff was made of many layers of starched batiste and linen broken up by other
layers of heavily starched lace. The result was a rigid element that was placed.

BAROQUE (1650 to 1715)

During this historical period, the differences between the styles of each country deepened. In
Holland, the wealthy bourgeoisie, who flaunt their good fortune, began to accentuate the
roundness of bodies below the waist, in both men and women, and the barrel silhouette became
popular. Dark colours and a lot of black are used, contrasting with the pure white of the wide ruffs
or the flat lace collars turned over the starched shirt fronts. Lace will be used profusely, both by
men and women, applied over boots, under breeches, on sleeves and on collars. Men will wear
longer and much wider doublets and breeches (skirt breeches or rhinegraves), a white shirt
underneath, high funnel-shaped leather boots topped with spurs, a wide-brimmed hat with
feathers and very wide leather gloves.

France, which would take the aesthetic lead in Europe for almost two centuries, would begin to be
influenced by Dutch fashion during the reign of Louis XIII (towards the end of the Renaissance, the
king incorporated several details to dress his musketeer guard), but it would be his successor, the
Sun King (Louis XIV) who would definitively change the typology of men's clothing. Absolute leisure
and lavish life at court will generate a taste for exaggeration, dissymmetry, abundant
ornamentation and lack of balance; characteristics that will become increasingly stronger as kings
and styles succeed one another.

Louis XIV was going to impose a new typology in the male attire worn at court: he added a 5 cm red
heel to the square-toed (duckbill) shoes. high and a jewelled buckle on the instep; the stockings
will be white and three-quarters long; the breeches, tight to the leg, extend a few centimetres
below the knee and are adorned with silk or satin ribbons called galants; the perpunte or doublet is
reduced in size and transformed into the VEST; the white shirt takes centre stage and is worn with
a large amount of ruffles and lace on the cuffs and over the breastplate (JABOT); the outfit is
completed with the military-style JACKET or buttoned jacket that reaches to the knees and has a
tail. The king began to wear a white lace or silk scarf tied around his neck, which had been taken
from soldiers fighting in Croatia, who used a scarf to protect themselves from the cold. During the
reign of Louis

In the 14th century, this accessory moved from military to civilian clothing and was called Croatian
fashion or CRAVAT; in the 19th century, and after some changes, it gave rise to the necktie.

Women did not vary their clothing typology much during this period: they were freed from the
Renaissance torture and their skirts fell much lighter since they were only made up of three
petticoats, each of which had a different name and colour (from the inside out: mysterious, modest
and mischievous), but they were loaded with ornamentation with multitudes of flowers, bows,
ribbons and lace. Dresses began to have double skirts, with the outermost one gathered up at the
back, and were accompanied by heavily embellished jackets with all kinds of ruffles, gathers and
bows.

Rococo:

Women's clothing was to undergo a major change during this period thanks to the intervention of
Madame Pompadour, one of Louis XV's favourite lovers. This woman equates the ornamental
richness of the female suit to the male suit by overloading it with all the ornamental details she
finds along the way: flowers (natural and artificial), bows, ribbons, gathers, lace, ruffles, stitching
and draping. As a court dress, she proposes a three-piece model that could be visually defined as
an open dress; she takes up the skirt frame, which will be called PANIER (basket or bread basket in
French) and which for important occasions will measure five and a half meters in diameter. For
moments of privacy at home in the morning, similar models called CONSIDERACIONES will be
used, whose length will not exceed two meters in diameter. Regarding skirt frames, the height of
exaggeration to highlight the hips was imposed from England when ELBOW FRAMES began to be
used, gigantic almost rectangular structures, assembled with wood, which were hung from the
waist.

Above the corset and the panier, Madame Pompadour places an enormous SKIRT, from the waist
to the floor, which will be complemented by an OVERSKIRT JACKET (the body of the dress) that,
although it will go down the back as a single piece, at the front it will open over the chest and legs
in a V shape. The jacket will have a square neckline (the chest may be left uncovered but never the
shoulders), sleeves that end at elbow height, called pagoda sleeves and wide enough to allow a
multitude of double or triple lace ruffles to emerge from the inside towards the wrist), a V-shaped
opening towards the waist on the chest and another inverted V-shaped opening (from the waist to
the floor) on the skirt. The opening over the chest must be covered with the so-called STOMACH
PIECE that does not allow the corset to be seen and was generally molded like a shield and
hardened with cardboard or whalebone. Instead of this piece, it was also possible to wear a kind of
small shirt that covered the corset, slipped under the jacket and was usually called a CORSET
COVER.

The visual highlight of this heavy outfit had to be the hips, which is why the use of so-called false
hips (a kind of cushion that hung from the waist and was placed above the panier) and a fold of
fabric that falls down the back of the jacket, is attached to the collar, forms the tail and is intended
to erase the visual fit of the back of the suit: THE SACQUE.

Each small ornamental detail of this jacket dress was given a specific name by the ladies of the
court:

• The bows, ribbons and bows that decorate the stomach piece are called the perfect
content
• The white lace embroidery that finished it off was called TUCKER
• the double or triple lace ruffles that emerge from the inside of the pagoda sleeve:
compromising
• the bouquet of natural flowers that was always placed on the left side of the neckline.

NEOCLASSICAL (1770 - 1790)

After the French Revolution, the luxurious and extravagant courtly style that had dominated the
French courts during the Baroque, Rococo and the first part of the Neoclassical style was replaced
by the new typologies imposed by the bourgeoisie, the main promoter of the revolution that was
now in charge of the Nation. The bourgeoisie, in their desire to differentiate themselves from the
absolutist kings who had kept the people in total poverty while spending their days from party to
party, took up the values, ideals and some cultural hallmarks of classical Greco-Roman antiquity.
This is clearly reflected in works of art, interior decoration, and architecture; these manifestations
are what make up the so-called Neoclassical style. The style in clothing is dictated by Marie
Antoinette, and is an “exaggerated Rococo”).

With regard to clothing, two stages can be distinguished within the Neoclassical style:

• The NEOCLASSICAL style itself, which developed during the reign of Louis XVI and
culminated with the revolution in 1789. During this period, fashion lines were dictated by
the king's wife, Marie Antoinette, who did nothing but take to the extreme the
ornamentation and forms of Rococo, developed years before by Madame Pompadour.
• The DIRECTORY AND CONSULATE style spans the end of the 18th century and the first
years of the 19th century.

• The EMPIRE style begins to develop when Napoleon comes to power and, betraying the
 basic precepts of the Revolution, declares himself Emperor, culminating around 1830 after
his fall and the subsequent restoration of a new monarchy.

During the Directory and Consulate, men were going to get rid of all the ornaments they wore in
later styles and only continued to wear long, tight, light-coloured trousers, accompanied by white
shirts, double-breasted waistcoats with two rows of buttons and fitted jackets with a tail; for
travelling, the redingote, a garment that had been born during the Rococo, continued to be used as
outerwear. As accessories, high ties were worn, still large silk scarves intricately tied around the
throat, high-top boots or lace-up slippers and tall top hats. In women, the Neoclassical style
imposes enormous side padding (panier-doubles) in dresses (even the doors change: they are
made double or triple), very high wigs and headdresses (the roofs of carriages are taken from
them), all kinds of ornamentation used in the Rococo but EXAGGERATED to the maximum. It's
ROCOCO taken to the extreme.

The female figure, in the Empire, will be the most benefited since it will be freed from the torture
of the corset, the panier, the wigs and the extravagant headdresses. Her figure is reminiscent of
classical antiquity in every sense, and to her natural, short and slightly wavy hair she adds
nightgown dresses, very low-cut (for the first time the shoulders are uncovered), high-waisted,
princess or Empire (horizontal cut made just below the bust), long to the ankles and made of very
light, semi-transparent fabrics and always light colors (batiste, muslin, gauze, linen). These dresses
were worn practically without underwear; ladies with less privileged figures added some skin-
colored panties and girdles or bandages to support their bust a little, and were placed moistened
with perfume on the body that had also been previously wet, to create folds in the fabric. This
created extremely slender, long-lined and vertical figures that referred to the shaft or body of the
Greek columns up to the waist, where the abrupt horizontal cut, which framed the neckline,
recalled the capitals or ends of said columns. When these dresses had sleeves, they could be short
or long. In the first case, they formed a kind of balloon that was placed over the shoulder and
ended in a kind of gathering at the base of the arm, and on some special occasions they were
accompanied by gloves; in the second case, the gathering was maintained but the sleeve then
stuck to the arm, imitating a glove, and ended at the height of the knuckles, covering the back of
the hand.

Considering that both in France and England, the countries where this new style became most
popular, the winter climate is quite harsh, we can conclude that the fashionable ladies very soon
went to the wake because they were literally dying from acute bronchitis, pneumonia and
tuberculosis (antibiotics had not yet been invented). Desperate doctors began calling these
diseases “muslin fever” and clamoring for warm clothing to accompany these beautiful but deadly
dresses. And so three types of coat became fashionable, all of which had one thing in common:
they contrasted with the dress due to the heaviness of their fabrics and the intense and saturated
colours that ranged from blood red to black, passing through dark browns, blues and moss greens.

Women's coats will be:

• SHAWLS: made of cashmere, square, without fringes and with Greco-Roman borders
embroidered on their edges that were all the rage when they began to be imported from
Asia.
• COATS: similar to men's redingotes but without lapels, with a high collar and waist, with
long sleeves (glove-balloon) and which could be lined with leather.
 • BOLERO OR SPENCER: coat invented in England by the Earl of Spencer, a type of jacket
with long, tight sleeves whose length did not exceed the waist and often directly reached
only the bust where they were joined with a long ribbon.

EMPIRE: 1800-1820:

Napoleon creates a new style totally removed from the typically French styles, that of the Louis,
(Bourbons), due to the French Revolution- He is consecrated Emperor and dictates, together with
the painter David, the new Fashions- The man stopped dressing in the French style: no more wigs,
silk overcoats, satin trousers, white stockings, high-heeled shoes, etc.- And he dresses “à la
Inglese”: short jackets in front and 2 long ponytails in the back, in dark or brown colours-
“Manquin” trousers, imported fabric from China, elastic, orange or yellow, and high black riding
boots with a white border on top- Plain vests, white shirts and bow ties. Very high top hats - Short
haircuts with long sideburns.

The woman finally adopts the Greco-Roman style: Two very light muslin, gauze or silk tunic-
dresses. The bottom one was narrow and closed and the top one had a high waist, below the bust
(Princess waist), all in very light colors. Only a flesh-colored, tight petticoat, and the corset was left
aside. The hairstyles were called "Tito" (after Roman Emperor), very short or with a small bun
above the head. The only hat used was called "capota" because they resembled the hoods (roofs)
of carriages. Short, puffed sleeves were used, hence very long gloves. Due to the cold and the
"muslin fever" (women wore dresses to be fashionable in the freezing climate), Josephine,
Napoleon's wife, made the Josephine dress, which was actually a blue velvet coat (Napoleonic
color) with a high collar (MEDICIS), long sleeves and open from the bust down. The shoes were silk
"mulelas" with leather soles. Fringed shawls were also used along with leather “manguitos” to put
the hands in.
ROMANTIC: 1820-1890

It is divided into three stages: First Romantic (1825-1845), Second Romantic (1845-1870) and Third
Romantic (1870-1890)-

First Romantic: the Bourbon Style silhouette returns: the Corset reappears. The waist returns to
the waist. Several petticoats extended the dresses (up to 8) which did not touch the floor, for this
reason the edge of the petticoats, stockings and shoes were very important, since they can be
seen- Underwear appears: the “pantaleta”: pants made of soft fabrics, decorated with lace or
ribbons, which reached to the calf- White stockings and shoes similar to the Empire but with
ribbons tied at the ankle- The hats grow in size and are called “bonnets”, decorated with enormous
feathers- The hairstyles were with a parting in the middle, short curls on the side and a bun at the
back. The fabrics of the dresses are: heavy for day, with checkered designs, stripes, etc. For
evening, very low-cut, with very wide sleeves (day and night), white - White is in fashion for
weddings here. Long shawls or shawls covered shoulders and necklines.

The man continues to wear the Empire style but the waistcoats are very colourful, the riding boots
are left aside and low shoes with pointed toes and patent leather are worn.
Second Romantic: Dresses were never wider than in this era: they could measure up to 8 metres in
diameter: This made Charles Worth, creator of Haute Couture, launch the MIRINIAQUE and the
CRINOLINE in 1850: these frames “removed” at least 6 of the 8 petticoats, and the dresses became
lighter. It is the Victorian era where “modesty” and “Home” are the goal: dresses touch the floor
and women, during the day, were completely “covered” - During the day the most commonly used
dress was the “Gabriel”, closed from the top to the hem with front buttons, but there were skirts
with blouses, full dresses, fabrics of all kinds, double-sleeves (like in the Renaissance), and long,
very low-cut, white evening dresses. This is where the “Society dances” came from: the girls were
introduced to their “candidates”, today's “15th birthday party” - Closed shoes, lace-up boots,
mules, etc. “CAPOTA” hats or huge capes: the important thing was that the sun did not touch the
face - Short gloves and parasols - Spanish shawls imposed by Eugenia de Montijo, Empress of
France. The most commonly used jewel was the cameo, large, fastened around the neck.
“Madonna” hairstyles: part down the middle, falling to the sides covering the ears and gathered
back with hairnets. Young women could wear it long and loose or with curls. Men change: The
jacket with ponytails is left for the evening and the “suit” appears: shorter jackets, long vests and
straight trousers: just as we know them today. The bow tie or ribbon gives rise to the tie or bow.
Black patent leather shoes and the FEDORA hat (used for 140 years): a hat with a lower crown,
moderately wide brim, decorated with a ribbon surrounding the crown, its name comes from a
heroine of the most widely read novel: Fedora.
Third Romantic: All the importance of the dress goes “backwards” - The stowaway appears,
replacing the crinoline - It is a wicker or fabric frame at the back of the dress, the upper skirt is
gathered there, falling in cascades of fabric and dragging long tails. The inner skirt is straight, fitted
and not very ornate - Very similar to the Baroque dress - Slightly puffed and long sleeves at the
shoulders, short sleeves for evening and very long gloves, straight and long sleeves to the elbow
with lace decorations (French style) - "Tapestry" fabrics for the day, heavy, with tassels and fringes,
very closed in the corsage, and very light fabrics for evening - The short jacket slowly appears, worn
with very ornate blouses underneath. The hats also “go backwards” ending in a point at the
forehead: decorated with flowers or fruit - Short veils reaching to the chin. Small parasols, muffs
and short gloves for the day complete the outfit. The hairstyles leave the ears uncovered and are
gathered into long, "fallen" buns at the nape of the neck, held in place by hairnets. The men follow
the previous fashion exactly.
BELLE EPOQUE-END OF THE CENTURY (1890-1914):

Around 1890, the stowaway disappeared and the skirts became narrower, dragging tails. The
female silhouette changed because the corset became longer: this was possible thanks to the
elastic fabric invented by Goodyear around 1870 but later perfected: Not only are they longer,
they have elastic on the side and the GARTER HOLDER hangs from the bottom edge (something
new). The female silhouette is elongated and shaped like a large S, as the bust was forward and the
tail back.

There are countless industrial inventions that influence fashion: The automobile gives rise to
raincoats, dust coats, enormous hats with veils over the face, huge round tortoiseshell and crystal
glasses, and caps.

In addition, there is a craze for the sea and sport: the bathing suit appears: the female one with
skirts, baggy trousers and closed up to the neck, the male one made of woven wool, tight and with
straps. Sport will bring turtleneck sweaters, white clothing for both sexes, light summer and
country clothing, boater or straw hats and a whole series of comfortable clothing. Day dresses
were lighter, with long sleeves and one or two pieces. The use of white blouses with raised collars
and little bodices and skirts of a different color began.

The feminine tailored suit and boots with elastic or laces are in fashion. The hats are huge as the
hair was gathered on top of the head, and long spikes held the hats up. The suits are made of wool
or tweed, and the dresses are made of all kinds of fabrics:
neutral colors. At night, the dresses maintained the same line but with very short sleeves and
sumptuous fabrics. Something new: the “sweeping” petticoat: at the edges of the trains, dragging
the floors, they wore satin petticoats that “whispered” when walking, which was attractive. In
addition to hats, feather or bird headdresses are also a must. Small handbags and umbrellas were
for daily use. Men's attire (except for sports or driving) did not change much either: only the day
suit began to button almost entirely in the front. At night, the "frock coat" (jacket with open
ponytails) and top hat continued.

EXOTISM IN FASHION: (1910 to 1920)

Paul Poiret, a French designer, wanted to liberate women, and with him began the disappearance
of petticoats and the lengthening of the corset, but some say that he was not the one who made
the corset disappear, as many believe. This came around 1918 with the help of Chanel, who began
with her designs during the First World War (1914-1918). Poiret is the “discoverer” of exoticism in
fashion: In 1910 the Ballets Russes were presented in Paris, and fashion changed: Poiret was
impressed by the Oriental clothing and adapted it to the West: long slippers, pointed shoes à la
“Turque”, “pagoda” dresses, “lamp”, “kimonos”, “swan” dresses, “royal bird” accompanied by Arab
or Turkish turbans with feathers in the center. In addition to this, it changes the colors of the
clothes: strong, pure and bright colors. The great designer and illustrator of VOGUE, Erte, makes
covers for the magazine with wonderful designs by Poiret. Both begin to design and are part of the
ART DECO movement (a style that became popular around 1925).

It is the time when dresses become Neo-Empire again: waist below the bust and 2 tunics one on
top of the other. The largest hats in history are seen here: filled with birds, feathers, fruit, flowers,
“bat wings” (2 black velvet “wings” held together with wires), etc. They were so big and used so
much plumage that by 1915 the use of these feathers was prohibited as bird specimens had
disappeared.

When the First World War broke out, exoticism began to disappear (as did the sumptuous), but
Poiret's "free" style continued. Around 1915, Chanel began to launch more comfortable dresses,
brought out the corset and, at the end of the War, women dressed more comfortably and
modernly, but for 6 years (1914-1920) the length of the skirt went up, down, up, down until in
1920 it was short below the knees; the decade of the 20s began.

DECADE OF THE 20'S

The “crazy” years. After the war, it was obvious that women would no longer be luxury items:
Chanel imposed the little navy blue or black dress, the striped “sailor” blouses and t-shirts, the
sweater, the beret, the caps, the white pants and navy blue blazers with gold buttons: ALL inspired
by the sailors of the South of France. In addition to Chanel's contribution, dresses were shorter to
the knee, the waistline dropped to below the hip, the "cloche" hat (almost covering the eyes)
became popular, as were handbags with dividers (women smoked, wore "doll-style" makeup,
drove, drank alcohol... and needed handbags for all this), wristwatches and women's raincoats (a
contribution from the soldiers), wool and silk sweaters, flesh-colored stockings, high heels with
"nails"... and a whole series of whimsical styles: the "Tutankhamun style" (Egyptian style) in 1926,
the Oriental, round Japanese fans, oiled paper parasols.

At night, the dress is long, with a low waist and more sumptuous, from here on, “Short for day,
long for night” is used. Shoes with bracelets or gold, huge fans and feather boas, beads on dresses
and headdresses.

After the war, men finally adopted the current attire: black, blue or green, silk robes, lace-up shoes,
white trousers and a blue sailing jacket, and baggy trousers down to the knee, worn with diamond-
shaped wool socks.

All this madness lasted until October 1929 when the New York Stock Exchange crashed and the
Great Depression began.

1930s

With the depression, styles changed completely: the silhouette returned to being natural, that is,
to the waist, long skirts reaching to the ankles, tight, high heels, a lot of importance was placed on
the fronts of blouses which were worn with closed tailored jackets or with skirts, but ALL had large
bows, important collars, arrangements, etc.
The tweed suit reigns supreme. The same as the summer dress or “solero” that replaces the blue
Chanel dress.

The hairstyles are: short curly bob and platinum is all the rage: by actress Jean Harlow. Eyebrows
are plucked and colored. Lots of makeup: bright rouge, blush, heavily painted eyes, etc. Heavily
painted nails.

It was a sad decade: not only because of the Depression, but because dark clouds were gathering
from Europe: Hitler and Mussolini, which in 1939 triggered the Second World War. The colors of
the coats, suits, dresses and shirts were ochre and dark. The hats were very small, like party hats,
placed according to the curls: on the side, on top, etc. The veils were short and covered the eyes.

Because of sport, women begin to wear shorts, for day or for the countryside: never in the city, and
pants but NEVER to "go out" -

For evenings, dresses were tight-fitting, made of lame, gauze or muslin with deep necklines at the
back. Nylon appeared in 1938 but was only worn for one year, with stockings (due to the outbreak
of the war).

Long hoop earrings, pearl necklaces almost touching the neck, short leather gloves, geometrically
shaped handbags - ART DECO was noticeable in the form of buttons, hat decorations and other
accessories. By 1937, skirts began to widen and shorten. A New Stage began… but in 1939
everything was cut short.

The man did not change his wardrobe - only in the bathing suits that start with shorts without
straps and they used towel robes for the beach - Lace-up shoes of 2 contrasting colors, shoes that
are later copied by the woman

DECADE OF THE 40'S - 1940-1947.

The outbreak of World War II and the Nazi invasion of Paris put an end to all luxury and the centre
of fashion moved to New York: functional fashion but not at all elegant.

Shoulder pads, which began timidly in 1933 due to a Hollywood costume designer, by 1940 were
enormous and were used on everything: jackets, coats, dresses, blouses... sweaters, etc. Hats,
nylon stockings, gauze, silk, feathers... disappeared. Everything was going to war, and since the US
produced very little, imports had been cut off. They used what they could: painted cardboard hats
or hats without tops, wooden buttons, tweed or wool fabrics. The most commonly used outfit was
the tailored suit: a jacket down to the hips, with shoulder pads, a linen blouse, a straight skirt down
to below the knees, and shoes with medium heels and a hole for the big toe.

Evening dresses were more elegant: The only “sumptuous” things were those dresses. Most of
them were draped on the shoulders, narrow and had a V-neckline. Hats were not worn, but rather
headdresses made of artificial flowers or horsehair. Long gloves for the evening and long veils
covering the face. Some dresses were very feminine: transparent and with lace.

The most used hairstyle was also imposed by an actress: Veronica Lake: straight, long and covering
one eye. The “Pomadour” hairstyle was also used with a horsehair “banana” on the forehead to
roll the hair and curls on the sides.

Black sunglasses and from 1946 cork platforms on sandals or shoes - Bathing suits had a "skirt" -
Men's fashion did not change at all - 1947

On February 26, 1947, Christian Dior, a new designer emerging from the workshop of Jacques Fath,
launched his first collection. This collection is considered the second great change in fashion in the
20th century.

After the Second World War, French textile factories were destroyed or inactive. Dior decides that
France must once again become the world centre of fashion and that its factories and employees
will begin to function again. Not only this: Dior calls the woman of the Second World War:
"Amazon", because of her enormous shoulder pads and masculine suits. This image of strength
was very good for the War, but NOT for the post-War period. Dior creates the so-called “FLOR
woman” and for this he decides to look back to the 19th Century (with its very high concept of
femininity) and recreate Lines from the past and create new ones. His collection was an absolute
success: since 1880, such sumptuous outfits, such rich fabrics and also SO MANY metres and
metres of fabric had not been seen!

Since the collection had no name, a journalist from “Harpers Bazzar” decided to name it “NEW
LOOK” - and this is how this era in clothing is known - It was not always well received in post-war
France: People did not have enough to eat, much less to wear meters and meters of fabric, but the
middle and upper classes adopted it very quickly - It is in this era where the “man” becomes very
masculine again and the woman “very feminine”: The world had to be repopulated after the war.

The New Look gave women back their lost femininity: sumptuous dresses, lines that highlighted
curves, a return to the use of girdles, padded and reinforced bodices to highlight the body (the
New Look was hated by Chanel, since Dior “gave back” to Fashion everything that it had taken
away!). Quito shoulder pads and the “masculine” tailored suit, huge hats and the so-called
“casquettes” (small and placed) returned. It was the hairstyle) with feathers, veils, birds, sequins,
glitter etc. The skirts reached to the ankles, then rose to the middle of the calf, the shoes were high
and thin heels, lined in the same fabric as the suits, the use of jewelry with stones and gold
returned, the coats followed the lines of the dresses, the "musketeer" gloves (long and rolled up to
the cuff) returned, important handbags made of crocodile leather, pearl necklaces with several
strands almost attached to the neck, earrings or clip earrings or pearls and large brooches on the
lapels. The nightgowns and robes seemed to be made in the great Age of underwear (1890): lace,
floating gauze, necklines, embroidered straps, applied designs of flowers and branches, embroidery
with gold thread, pearl buttons.

Hair was worn short and in a “bob” style, but not “tidily styled” like in the 30s, it was brushed hair.
For evening (if the lady wore long hair) large buns were worn on top of the head. The use of long
“foulards” or scarves-shawls was a “must”: in short: EVERYTHING ultra feminine. With this, France
once again placed itself at the World Center of Fashion. The 50s are considered the most elegant
decade of the 20th century. In fact, Dior lines can be seen today at any important event, especially
in evening or gala dresses.

Here are some of the lines that Dior launched, year by year:

• 1947-48: “Serpentine” line: One skirt on top of the other. The upper one fell open
to one side in a “zig-zag” shape - The skirts were very long and very flared. Necklines are
plunging, “mirror,” “heart,” straight, or V-shaped. Elbow-length sleeves, long gloves, huge
hats with feathers, veils, fruit, etc. - Medium-heeled shoes with pointed toes.
• 1948: “Cocotte” dress: absolutely inspired by the Third Romantic fashion. With
stowaway, skirt gathered at the back cascading down, padding in the train. but the skirt
reached above the ankle (the only difference with those of the Third Romantic period).
“Pointed” hat facing forward, decorated with flowers or fruit, elbow-length sleeves and
“musketeer” gloves. Light colors. It looked like a dress painted by Renoir in 1880.

• 1949-1950: Long skirts slowly begin to be extended with petticoats. Very sleeves
short or with large bows on the sides - The hats had beads, feathers and veils falling,
 framing one side of the face.

• 1952: The “A” Line begins: skirts are extended with armed petticoats and shortened by a
bit. This Line A was one of the 3 most used, along with the “Y” and “H” that we will see.
Strong and pure colors. Very short jackets and cloth gloves.

• 1953: “Corolla” line: wide skirts made of fabric “petals”, one on top of the other
(imitating a “rose”) forming the skirt. Low necklines and short sleeves. Very pale colors:
pink, light blue, pale yellow, white. Very short gloves.

• 1954: The “H” Line is launched: straight jacket with almost no lapels, silk shirt or blouse,
belt
fine leather and straight skirt down to the calf in the same fabric as the jacket. Looking at it
from the front it imitated a large “H” - Hats became smaller and the “casquette” began to
be used, in thousands of different shapes and colors. With sequins, long feathers (one or
two), ribbons, etc. Always placed according to the hairstyle. Colors: black, blue, gray,
green.

•1955: The “Y” Line is launched: great importance in necklines or sleeves, some “balloon”
style and
very tight dress, almost “sewn to the body” – The opposite of the “A” Line – For day, light
or neutral colors, for night, strong colors: blood red, blue, orange, etc. Next are the caps.
The shoe is worn with thinner, higher heels. Purses grew in size and variety and were
carried on the elbow. The long scarves and foulards were worn as loose shawls or carried
in the hand. Short and long gloves for the night. The Y and the A were used, the wide and
the narrow.
• 1956: The “Gainsbouroug” line is all the rage: very loose dresses, very heavy petticoats,
mid-calf lengths, long sleeves and evening dresses were very low-cut or strapless with
enormous, full skirts that reached the floor: they were reminiscent of the painter of Louis
XV's court: Gainsbourg-
•1957: The “locked” line is launched with little success: straight and very long skirts with
locks on the
the hem, which made it very difficult to cross an avenue or get in and out of a car. The
ladies walked like “geishas”: they could barely take steps: these dresses were reminiscent
of those used in Poiret's “exoticism”, around 1912 (TITANIC Fashion). They were all made
of wool. Neutral colors. Shoes with high, thin heels.

• 1958: “Balloon” line: actually launched by Yves Saint Laurent who inherited the Maison
Dior
After his death (1957) - Very wide dresses but gathered at the hem, forming a balloon -
There were "chemise" style or loose from the shoulders, but always "balloon" - Hats again
very large to accommodate the hairstyles that began to be whipped and high.

The 3 most used lines were the A, the Y and the H, these lines were used until 1965, to be exact.
Both day and night.
Throughout the Dior era, some EVENING dresses were reminiscent of those of the Second
Romantic period: very long and wide, with crinolines and metres and metres of fabric: gauze,
muslin, lace and ALWAYS white.

And finally: given these lines: skirts either too wide or too narrow, the ladies had to relearn HOW
to sit or walk! - It was not unusual for the skirts to ride up almost to the head when sitting!

And something funny: In 1949 Dior was beaten in a duel by a furious husband, who had “stopped
seeing his wife's legs” - Luckily, nothing serious happened.

Christian Dior is considered the most elegant and exquisite designer of the 20th century. His
influence continued with all designers around the world throughout the 50s and part of the 60s.

1950s:

Not only Dior stood out in this decade- There is something very important about the 50s: It was a
hypocritical decade: on the one hand there was the desire to return “to normality”, after the War,
to “family life”, to the home, but on the other hand the changes in Society, due to the War, could
not be denied- This brought with it a DOUBLE MESSAGE in everything: Fashions, Cinema, ways of
life….- In 1948 and 1953, 2 books were published on sexuality in the USA, a taboo subject until
then: but THIS was the “new Spirit”: talking about things head on. It is a “prudent” decade but with
“double reading”.

In Cinema it was reflected in “musical comedies, romantic dramas, “apparently” naive films, police
films, but ALL had a double message or sub-text: The “American way of life” had ended.

In fashion it was reflected much more directly: Yes, dresses with very wide skirts "kept men away",
just like in 1850 but they were worn with very deep necklines, high and thin heels, girdles with
garters (the wind lifted them and they were seen), or the very tight ones that actresses like Marilyn
Monroe, Jayne Mansfield or Sofia Loren wore, showing their breasts almost outside, and sewn to
the body - AND WITHOUT underwear - The same as always: the more you try to cover up, the more
you show.

The makeup of the 50s also “emphasized” everything: “cat-like” eyes, blood-colored rouge, blush,
fake moles, everything was done to enhance the female figure and sexuality.
But the great change in the 1950s came from the youth: Around 1953 the "youth revolution"
began to break out due to the disaster of the Second World War: young people began to question
the "values" of their elders, values that had already triggered two Great Wars. Haute Couture was
dying, it was only for a few.

In 1953, Audrey Hepburn emerged as the “ideal” model for traditional young women, but with a
“Lolita” style: in all her films she was shown with leading men of ages that could have been either
her father or her grandfather. It imposes an almost androgynous, flat, youthful and fresh look.
Thousands copy her “plate” skirts, her men’s shirts tied at the waist and open neckline, scarf
around the neck, flats, very tight “CIGARETTE” pants and a certain “I dress how I want” look.

In 1955, the actor James Dean, idol of young people, died in an accident with his Porsche at the
age of 24. Dean wore BLUE JEANS in his 3 films, short nylon jackets, white t-shirts underneath and
moccasins. Young people immediately adopted these garments, and blue jeans, which had been
invented in 1870 only for miners or workers, began to be worn by all young people. White t-shirts
are the norm for boys, but moccasins and jackets for both sexes. This was very important: for the
first time in fashion, young people began to dress LIKE young people, and not copying their elders.

In 1953, Marlon Brando made the film “The Wild One” and imposed the “bad boy” look: leather
jackets with zippers and chains, short leather boots, tight jeans, leather gloves, military caps,
aggressive attitude, motorcycles, this was the look of soldiers returning from the Korean War
(1950-1953) - And with them came the “military-style” haircut: long on top and shaved at the nape
of the neck and temples: this haircut was erotic for women, and was adopted by men throughout
the decade.

1955-1956. In 1955, rock & roll emerged with Hayley Hill, and in 1956, Elvis Presley: both are the
“spokesmen” of the youth who are slowly finding their own identity. With these dances, the young
people wear all the clothes mentioned above, but new ones or new outfits emerge:

YOUTH CLOTHING:

Girls: white or light-colored linen pants, tight-fitting, side zipper: worn above the ankle with low-
cut flats or loafers. Also blue jeans rolled up to the calf - Blouses or thin wool sweaters, V-necklines
and sleeves rolled up to the elbow. The hairstyles varied from very short, to bobs, to long, tied back
in a ponytail. Some leave it loose with a very wide elastic headband. They also wore full dresses
with very wide skirts and petticoats (ideal for dancing rock) or white blouses and wide black skirts,
thin or wide belts. Little makeup and ONLY for important parties they wear high heels and more
sumptuous dresses. Shorts are beginning to be worn on beaches, in the countryside and even in
the city.

The boys: short hair but with a quiff like Elvis, sometimes slicked back. Blue jeans, oversized
sweaters (inspired by the French “existentialists”), loafers without socks or with thick wool socks,
white sneakers, and for college, light-colored linen pants that don’t reach the ankle, along with
short-sleeved dress shirts, white t-shirts under the shirts, and loafers. Short “James Dean” style
jackets or “Brando” style leather jackets: the look varied depending on the impression they wanted
to make - The same as the girls: There were “Audrey Style” (very sober) or “Brigitte Bardot Style”
(very exuberant).
OTHER DESIGNERS: Pierre Balmain, Yves Saint Laurent, Chanel (who launched her first collection
after the war in 1954), etc. - All of them, except Chanel, followed the “Dior Lines” - The difference
between day and night clothes was very noticeable: the shape was the same, but the fabrics,
colors, arrangements, accessories, hairstyles, etc. varied. - People “dressed” for the night: whether
they went out or not.

The 50s were also characterized by marking, year after year, a “furor” that if it lasted became a
“Style”, and if not, it disappeared, just like the Moda song that inspired it, the singer, the film, etc.
An example: In 1955, “Angustia de un querer” was released with enormous success, where a
Eurasian girl falls in love with a reporter: This girl wore “Chinese” dresses: closed “Mao” style
collars, buttoned on the side, pagoda sleeves, shiny fabrics and soft colors, embroidered with gold
or silver threads. That same year, and because of that film, the “Mao Style” was imposed among
the ladies, and it was a furor. They wore those dresses with hats that ended in a point, round and
made of straw: very similar to the Chinese ones. It was a “furor” that ended in 56. Regarding the
coats: they were very wide, with turned-down collars or large lapels or short jackets worn with
pencil skirts.

1960s

This decade is divided into two completely different periods from each other-

1960-1965: The lines imposed by Dior were followed, but the skirts began to be less wide, the
coats remained wide with enormous collars and were worn with a brooch on one side of the neck.
The shoes have very high and thin heels, very narrow and long toes, lined or made of leather.
Large, geometric-shaped purses with a single large clasp. The hats are very large as the hairstyles
grow in height, towards 1963 the decline of the hat begins, with the hairstyle becoming very
important: always whipped. The two most used lines were the A and the Y - The A for day, and the
Y for night. Also knee-length pencil skirts, short jackets with elbow-length sleeves and long gloves
(rolled or not). Day dresses were made of light fabrics, “chemise” style with thin belts, open collar
(“shirt” style) and buttoned up to the waist, in the front. Wide skirts with flare but NOT gathered. If
women wore pants on the street, they were: light-colored linen, tight-fitting and with flats. One set
was the most commonly worn: a blouse and a “ball” sweater (very soft wool), the sweater
buttoned up at the neck but open at the bottom, or worn directly over the shoulders, but the
blouse and sweater were the same color and fabric, either with skirts or pants. Young people of
both sexes continued to dress exactly as they had in the previous decade.

The one who really set the look for these 5 years was Jackie Kennedy, the wife of the President of
the United States. Her maiden name was Bouvier and she came from a noble family. Her stripped-
down, very elegant and personal style changed (for a few years) the very inelegant and overdone
styles of the USA.

In 1960 she began to wear Chanel outfits, and this helped the Chanel style to re-establish itself in
the world, since after the reopening of the Maison Chanel the French did not want to know
anything about Coco (since she was considered a traitor to the Allies). Jackie begins to wear her
typical wool outfits, pearl necklaces, pencil skirts, shirts with bows, etc. and also imposes the
“pillbox” hat: round, flat and placed on top of her hair. The “Jackie” hairstyle could not be more
opposite to the smoothies of the time: parting on one side, shoulder-length, with the tips facing
outwards or inwards and simply brushed.

Her favorite colors were light ones, and at night she dressed in European designers. Long, narrow
dresses with a single brooch as decoration-

EVERYONE wanted to be “Jackie”, and since 1961 when she became First Lady, the World admired
her “class” and elegance: When President Kennedy and his wife went to France in 1962, the crowd
went crazy with this very young woman, dressed simply and very polite. In his first speech,
President Kennedy said: “I am Jackie’s husband” – and it was true, she and her figure conquered
everyone. The day Kennedy was assassinated: November 22, 1963, Jackie wore a very simple
Chanel outfit (she “adapted” them herself, making them simpler) in pink and her famous PILLBOX
hat.

Regarding men: Suits became tighter, trousers were tight, almost reaching the ankle, ties were very
thin and shirt collars were small. An elegant man never wore a light blue shirt: it was always white,
and the “FEDORA” hat was still in use. For sports, he wore light-colored linen or cotton pants, light
shirts and sweaters. Argyle wool socks and moccasins. The hair was short, with gel, and the “jopo”
was only worn by young people.

1965-1969

The “youth revolution” that had begun in 1955 broke out in the least expected place: London, a
very traditionalist and sober society, but if we think about it: in every very repressive era or society,
the opposite arose as a reaction.

In 1962, “The Beatles” emerged in Liverpool, England: Elvis was already a thing of the past. But it
was in 1964, when the group appeared on the “Ed Sullivan Show” that the world got to know
them.

In 1964 the contraceptive pill was launched on the market: women could now choose their partner
without fear.

That same year, 1964, André Courrèges, a new French designer, created the miniskirt, but did not
dare to launch it.

In 1965, Mary Quant, an English designer, launched the miniskirt and with it a whole series of
minidresses. It was the third great fashion change of the 20th century.

New and modern designers emerge: Not only Courrèges, but also Paco Rabanne, Pierre Cardín,
Emilio Pucci etc. - They all join in with this new “revolution” in Art, and therefore in fashion.

London becomes the World Center of Art and Fashion, “Carnaby Street” was THE place to walk
around and dress, youth took such power and designers represented them so well (in parades
where models danced to the music of “The Beatles”, “The Beach Boys”, etc.) that for the first time
in history adults wanted to be and dress like young people and not the other way around, as
happened for centuries. It was common to see mother and daughter dressed exactly the same, so
that it was almost impossible to know who was who.

Dresses: They were very simple, geometric shapes, short sleeves or up to the elbow, high waisted
or waistless, varied colors but contrasting colors predominated: the top part gold or silver and the
bottom white, or black and white... etc. The coats follow the lines of the mini dresses. Designers
used materials never before used or never used for women: Paco Rabanne and his silver-plated
metal plate dresses, held together with metal brooches (long or short) with metal hoops and silver
shoes, Pierre Cardin and his “Futurist” fashion (inspired by astronauts: since space travel was
becoming more and more important): straight-leg trousers, open jackets and white blouses, made
of plastic or leatherette, low-heeled square-heeled shoes and hats in the shape of space helmets
with enormous goggles-headbands attached to the helmet, short white plastic boots with woven,
mesh (“openwork”) or plain stockings. Courrèges and his very famous dresses imitating paintings
by the painter Mondarían: white background and square designs, large or small in pure colors,
enormous round sunglasses with white frames - Some of these dresses were made of paper, plastic
or metal mesh (like the military uniforms of the Medieval Era - Emilio Pucci and his dresses with
floral, striped or wraparound designs, his incredible scarves and his “Palazzo” pants: huge and
loose, worn with a mini-top on top. Evening dresses don't differ much from daytime dresses, just
the materials.

Model TWIGGY as the ideal feminine silhouette: very thin, without curves, androgynous and with a
certain “neutral” or “sad” look. Her hair almost at the skin or with bangs and tips facing inwards-

The hairstyles of this period were: short hair with a sideburns, shoulder-length hair but also slightly
sideburned at the top and the ends pinned back with a comb, or long bangs with the ends (short)
turned inwards.

They left aside: petticoats, bustiers, headbands, sashes, suits, high-heeled shoes, sumptuous
fabrics, handbags (large shoulder bags were worn), jewelry (only costume jewelry or huge,
geometric acrylic jewelry), hats, feathers, veils, etc. etc. etc.

For the first time, men abandon the suit and adopt a jacket without lapels and a Mao collar, worn
with high-necked T-shirts, straight plastic or leather trousers, square-heeled shoes, long, unkempt
hair, short Cardín-style boots, huge sunglasses, jackets made of bright fabrics and pure colours,
shirts with a jabot - they abandon the tie, the hat, lace-up shoes, umbrellas, overcoats, raincoats...
Etc.-

This era is known as “Swinging-London”, “Beat Era” or “Psychedelic” (drugs had a lot to do with
these designs, since some were socially permitted)

This is where the “unisex” begins, timidly.

Although NOT EVERYONE accepted this, especially the “traditionalists”, slowly the entire world
began to incorporate it: the Industry IMPOSES it, people BUY IT.

Even Buenos Aires changes!!: it is in these years when the Di Tella Institute emerges and very good
Argentine designers and creations-

In 1967, the HIPPIES emerged in the United States (San Francisco) as a reaction to the Vietnam
War, but their fashions would only be incorporated into society from 1970 onwards. During 1967
and 1970, only they used them (like every minority group), but in the following decade they had a
great impact.

It was in these 5 years that the ideal of today's society began and was forged: being young, thin,
fashion FOR young people, the industry was and is managed only for youth, disposable materials,
"pret-a-porter".
1970s

In this decade there are also two different eras or styles:

1970-1975: The Hippies disappear, as a marginal group, around 1969: There were 2 reasons for
this: they preached “Make love, not war” but drugs, the scandal of the Woodstock Festival and the
murder of the actress Sharon Tate, 8 months pregnant, along with 5 friends in her house in
Hollywood, at the hands of a hippie group led by Charles Manson, ended the Hippie “ideal”. The
Fashion industry simply “took” the hippie clothes and made them fashionable: Men and women
with long hair, batik shirts and tunics, leather sandals, headbands with flowers, cut and frayed
pants, raw wool or leather jackets, heavy and “psychedelic” makeup, straw hats, feather
ornaments and earrings, long bead or noodle necklaces, and everything that was “natural”, the
“anti-Industrial”. But it also incorporated: “Hot-pants” (very short and tight) made of leather, fabric
or leatherette, very high leatherette boots tied with bows, long, tight t-shirts with straps, huge
“loose” belts with all kinds of buckles, and then, as a reaction to the mini, they launched the maxi
skirt, very long and tight skirts that barely allowed you to walk: this didn’t last long and the mini
and the hot-pants continued. Long necklaces, hoops, bracelets and acrylic rings were worn even on
the beach. For daytime, elephant leg pants also appeared: very wide at the bottom and longer than
normal, which is why platforms (used in 1946) with clogs reappeared. The coats for hot pants were
floor-length, for minis they were short and for evening…long. It was like a constant search for
styles: long-short-long.

Wide metal or leather chokers, beaded bracelets, long hoops, etc. reappear. Hairstyles varied
according to each woman's style: the "hippie" wore it very long and straight, the "office worker"
very short and curly, but in general the medium-long style predominated, curly on top and straight
at the back. Also in these years the “painter’s dress” appeared: loose from the top, balloon sleeves.
Short and voluminous, which could be worn with or without trousers, or the “bobo dress”
resembling a very short and loose Greek tunic. The designs of the fabrics were as varied as the
styles of the dresses. Cloth hats with huge flowers on the side, woven berets and huge straw hats
were worn.
The man wore almost the same things as the woman, except for the dresses. High heels and
platform shoes, very tight-fitting shirts, elephant-leg pants, long hair… and it was really difficult to
tell the sex when looking at it from behind. For the evening, men wore suits with huge lapels, shirts
with ruffles in front without ties, wide trousers and high heels.

1975-1980:

An attempt is made to return to normality: The mini and hippie styles are left behind and the craze
for “Retro” fashion begins. This was no coincidence: several films of the time, which were very
successful among young people, were set in the 50s, and their views (and the industry) went back.
Unisex ended and they returned to bygone eras.

Women began to wear knitted clothing: hats, jackets, gloves, skirts, coats. In summer: long, wide
“village” skirts, short-sleeved shirts or t-shirts with straps. Huge cloth bags hung from their
shoulders. In 1977, ochre colours and overlapping clothing that varied in length or “African” outfits
became popular. In 1978, the reign of “Disco” fashion took place: dresses with straps and wide
skirts for “dancing” (it didn’t matter who you danced with, the important thing was to be SEEN) or
not-so-wide lame pants and sequin tops. Shoes ranged from sandals, calf-high boots with high, thin
heels, and low-cut shoes with thick high heels. Around 1979, people began to copy almost exact
fashions from the 1940s. The most popular hairstyle was that of actress Farrah Fawcett: long and
brushed outwards at the ends. And also the “Afican look”: very beaten forming a big “ball” on top
of the head-

Men, leaving behind the hippie and unisex style, begin to dress “Italian style,” inspired by John
Travolta and “Saturday Night Fever”: shirts with enormous pointed collars, made of silk or satin, in
bright colors, pants that are very tight on top and wider on the bottom, shoes with medium and
wide heels, jackets on the shoulders, and extravagant suits: in design and colors. The hair was short
but somewhat “whipped” on top and curly. White shawls with fringes or capes complete the outfit.

From 1979 onwards, RETRO began with all its fury, a return to the past, a mixture of styles, which
would mark the entire following decade. Just as it happened with the Hippies in the 60s, the PUNKs
who appeared in London in 1976 were then absorbed by the Fashion Industry in the 80s.

1980s
In this decade, styles from the 30s, 40s and 50s were mixed but with the “spirit” of the 80s
(extravagant, superficial, selfish). These three styles were adapted and recycled as the decade
passed. It is impossible, given the large number of garments and styles, to write about the “typical”
dress of the decade, or the “style” of the decade, but it is worth making a list of THE Styles used,
since they were all used at the same time. The important thing is to make it clear that the 80s were
an absolutely RETRO decade, even among young people.

PUNK: They disappeared as a marginal group around 1982 and Fashion took their clothes:
enormous leather jackets, with studs, buckles, chains, medals. Very tight jean pants folded at the
ankles worn with military sheepskin. Torn t-shirts, hair dyed in a thousand fluorescent colors, very
heavy fluorescent makeup, “Sioux” hairstyles (like the Sioux Indians), or disheveled hair.

YUPPIES: the opposite of Punk: Yuppies appear as a phenomenon of the 80s in the USA: young men
and women, executives, who dress very elegantly, in fashion, in a desire for

“to seem” rather than “to be”. They had to appear very successful and wealthy, and above all,
“self-confident.” Given the North American Society for “climbing” positions they had to be
impeccable:

Yuppy women: Full length dresses down to the calf, dark or ochre colours, shoulder pads, coats
from good brands and long down to the ankles, high and very thin heels, blouses with long tube
skirts, short jackets (boleros) or sweaters, makeup that is NOT heavy, high or straight hairstyles, or
with a blow-dry. Sometimes thick braids that started at the top of the head and went back, very
wide-brimmed hats or “fedoras,” fake jewelry, pearl necklaces: matching purses, shoes and gloves -
they NEVER wore pants to work.

Yuppy men: Armani suits, white shirts, some shoulder pads, long overcoats, short, neat hair,
glasses (whether they need them or not), umbrellas… He was the typical "well-dressed gentleman"
-

Moreover, yuppies dressed well even when not at work: Women wore pleated trousers made of
ochre, beige, white or striped linen. White silk blouses with shoulder pads and wide, long sleeves,
scarves in the hair as headbands, long or medium-long coats or jackets, flats, heels, leather boots.
Sweaters draped over the shoulders with dress pants looked very “good” - Yuppie men, outside of
work: straight or pleated pants, dress shirts, sport jackets, lace-up shoes, good brand perfumes…
this was the era when the “metro-sexual” man was born: he began to get ready, get surgery, do his
hair, go to the gym… EVERYTHING had to be “perfect”

STREET CLOTHES: Women: mini dresses or below the knee dresses with ruffles, huge shoulder
pads, bibs, and all kinds of bows, decorations, designs. Some day and evening dresses had rigid
petticoats called “can can” to enlarge skirts. Sweaters: they were decorated with fabric flowers,
feathers, glitter, large fabric rosettes, lace, etc. EVERYTHING had shoulder pads that grew larger as
the decade progressed - Very tight jeans, folded almost above the ankle with very thin high-heeled
shoes, men's white shirts, jean jackets... This was the era OF JEANS: dresses, bags, jackets, hats. But
always with studs or embroidery. Around 1984 they adopted wigs or Punk hairstyles: they dyed
them any color, slicked them up, cut them “carelessly”, they also combed all their hair: long or
short, “dark” makeup: blood-colored lips, black mascara and shadows, blush, moles

The jewelry was fake but there were dangling feather earrings, beads, medals, or huge Hindu-style
pearl necklaces for the day and wide metal bracelets. Slave or charm bracelets. And even chains
that went from one shoulder to the waist.

Hats are making a strong comeback: they ranged from small, glittery caps to enormous wide-
brimmed hats. They were used day and night.

At night, the clothes were sumptuous: fabrics, cuts and designs: there were Y-line dresses with
enormous bows of the same fabric on one side without straps and trains, or A-line dresses:
enormous and so uncomfortable that they were worn in limousines or in cars from the 40s (they
are the same dresses that we see on the "red carpet" today). Men are returning to a tuxedo with a
bow tie or a well-branded suit, in dark colors or with very narrow stripes. Calvin Klein underwear is
all the rage among men because it “highlighted” (and still highlights) “attributes” – I repeat: the
entire 80s were “to be seen” – To “stand out”. Hence the shoulder pads: it was like saying “Here I
am and I am strong.”

In 1984, the singer Madonna entered the scene and with her we can speak of a Style and an
indiscriminate mix of clothes: since her first video “Like a Virgin” she used: long hair, scarves
around her neck but as headbands, elongated “cat-eye” style glasses from the 50s, transparent
lace blouses with a corset underneath, then blouses under the black lace corset, short flared skirts
and petticoats, sometimes alone, sometimes with “tights” underneath, mittens with fingers out
and lace, high heels or flats… in short: clothes from the 30s, 40s and 50s but mixing them in such a
way that she created a Style: the “Rocker-girl” style: her fans imitated her and in that day they
were the “queen of rock”. - If influence continues today - Imposes: superposition of clothes from
various eras, sunglasses, headbands, tights, scarves used as headbands or as bracelets, very long
fancy necklaces, masculine hats with a feminine touch: feathers, veil, flowers, ribbons… Mittens,
black gloves, strappy shirts, the corset as outerwear… In each video she released (and releases) she
marks a new style, and I consider that she was the last to impose her own personal style.

90'S DECADE

Just like the 80s, the 90s began with a lot of glamour, especially because of the Top Models, who
made a great contribution by becoming stars and were idolized as if they were goddesses.

In the 90s women were overwhelmed by the demands of the powerful “working women” and
began to think that to obtain good results they had to be tall, slim and seductive. Many young girls
rejected their mothers' hard-working style and preferred to have a good time with a small
professional career.

A time of crisis that could not offer much also left out supermodels, who were extremely expensive
for a bankrupt textile industry.

Soon a countercurrent began to emerge: Grunge had arrived, which showed an anti-fashion
phenomenon, with unkempt and poorly matched women. This movement did not last long, but
deconstructivism nevertheless endured in fashion.

After this, natural freshness returned to fashion. Women were expected to look as natural as when
they first got out of the shower, and a discreet look was the most accepted.
In the 90s, fashion became casual. People were tired of production and entered a period of
relaxation. The demands of the modern age have led people to feel lazier, perhaps, when it comes
to doing other things like producing. This is why 1990s fashion is so distinctive and we can identify
the 90s so clearly. However, 90s fashion was about variety rather than a specific, lasting trend.

This need to become casual had to do with the need to express our individuality. After many years
of trends and fashions, people came to the conclusion that they were not expressing themselves
freely. 1990s fashion is all about wearing what makes you feel comfortable, without giving much
importance to the opinions of others or trends. Casual clothes became the fashion of the 90s, and,
as ironic as it may sound, if you put on a lot of effort or used a lot of makeup, you were out of
fashion.

However, by the middle of the decade, people began to care a lot about expressing their
individuality and forgot about casual clothing. Once again new eccentric designs began to appear
and 1990s fashion underwent new modifications. Piercings, tattoos, and hair dye were new trends,
very common in 1990s fashion.