gettyimages

FASHION
DECADES OF
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OF
DECADES

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FA SH

ley
Harriet Wors

MANN
KONE
 This edition © 2004 Tandem Verlag GmbH
KONEMANN is a trademark and an imprint of Tandem Verlag GmbH

Photographs © 2000 Getty Images

All rights reserved. No part of this publication may be reproduced, stored in a

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Design: Tea McAleer
Editor: Richard Collins
Picture research: Ali Khoja, Leon Meyer
Project manager: Leon Meyer
Proof reader & indexer: Liz Ihre
Special thanks: Alex Linghorn, Antonia Hille, Tom Worsley, Jamie Knight, Sarah McDonald,
Deirdre McGale, Arlete Santos, Nancy Glowinski, Mary Welland

Printed in Germany

ISBN 3-8331-1215-8

10/9587 6.5 4.372

X IX Vill VIVEV IV Th Wht
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Frontispiece: Sixties model Lesley Hornby, more famously known

as Twiggy, personified the girl-child ideal of the decade with her
tiny body, big eyes and crop by hairdresser Leonard. Twiggy took
the fashion industry by storm with the help of another hair-
dresser, Nigel John Davies, who reinvented himself as Justin de
Villeneuve. She looked good in the school uniform-style mini-
dresses designed by Mary Quant and was a household name by
the time she ‘retired’ at nineteen. This picture from 1967 shows
her wearing the bold, black eye make-up fashionable at the time,
complete with fake eyelashes.
 Contents

Introduction 6

1 The Belle Epoque 8

2 Suited and Booted 64

3 Boom and Bust 120

4 The Glamour Years 232

5 Make Do and Mend 340

6 New World—New Look 410

7 Minis and Mods 488

8 The Daisy Age 546

9 Dress to Impress 668

10 Back to Basics 718

Introduction

Twentieth-century fashion began in one particular city — Paris — and it was towards this
city and to French designers like Charles Frederick Worth, Paul Poiret and Coco Chanel
that Western women looked to direct their taste in clothes. During the Second World
War, when Paris was isolated by German occupation, Britain and America found that
necessity proved to be the mother of invention and they developed their own fashion
Styles. Post-war prosperity created a youth culture that spawned what is now called
street-level or ‘underground’ fashion.
By the end of the century, the fashion cycle was operating on fast forward; no one
trend held sway. As one silhouette evolved, another reacted to it the following season.
Women now had unprecedented access to global fashion. They could choose styles
from any country in the world, order clothing over the Internet or visit a distant country
and buy pieces herself. By the year 2000 Paris, New York, London, Milan and Sydney ~
were hosting high-profile fashion shows and countries such as Japan, Belgium and
Holland were throwing new designers out onto the international playing field.
As attitudes towards women changed during the century, so did their clothing; the ;
cycle of change was endless. Certain looks and silhouettes recur throughout the
period. Obvious examples include curvaceous styles with heaving bosoms, narrow
waists and wide skirts; the square-cut, boyish look; and the fluid, draped fabrics
influenced by Ancient Greece. In 1947 Picture Post remarked perceptively: ‘Nothing
is so disliked, nothing so despised as yesterday's fashion. We invariably find our
parents’ taste in clothes ... intolerable. But, equally certainly, a succeeding generation
 will discover in them nostalgic beauty and forgotten charm. Once
they belong to the
day before yesterday their revival is certain.’ French designer Christian
Lacroix offered
his own analysis: ‘Fashion comes round in an Oedipal cycle; a young
designer is
forever trying bring back to life the first female image that made an impress
ion on him.
The twenty-year-old designers of today are always nostalgic for the glamour of
their
childhood.’
Several threads run through 2Oth-century fashion. Haute couture clothing is
exclusive, made-to-measure clothing fitted to the individual’s exact proportions. Prét-
a-porter, in contrast, is ready-to-wear. The designer's creations are mass-produced in
a range of standardised sizes. Feeding off the trends set by expensive, designer fashion
are a host of businesses: dressmakers and mail order catalogues, department stores
and high street multiple retailers who now sell cheaper, ready-to-wear fashion.
Manufacturing technology, too, has influenced fashion throughout the century.
From the development of synthetic fabrics such as rayon and nylon to the advent of
heat bonding and laser cutting, fashion designers have enthusiastically adopted new
ways of creating beautiful clothes.
Despite fashion being big business, trends still filter up from street level.
International designers send their scouts off to source ideas from clubs, markets and
bars. But for the height of sartorial cool at any time of the year, one need look no further
than the streets of London.
 1 The Belle Epoque
1900-1914

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So

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Actress Carol McComas poses for the camera in 1905. Her clothes are typical of those of
the elegant woman of the time, with an abundance of lace and frills and sweeping skirt.
The waist was pulled in by corsets, and the bosom flung forward, but dress bodices fell
loosely, billowing slightly over the waistband at the front. This would have been an
evening dress, as high-collared dresses were always worn for day,
1 The Belle Epoque
1900-1914

The death of Queen Victoria in 1901 catapulted Britain into a new, light-hearted era. King Edward
VIl encouraged partying, consumerism and European travel. The British had a chance to catch up
with the French, who had been enjoying the prosperous Belle Epoque since 1870. Paris was the
fashionable centre of the Western world, boasting the couture houses of Callot Soeurs, Doucet, Cah
Se
g.
et
Fe
sS
SsE
o

Drécoll, Worth and Paquin.

Despite this easier climate, women were slow to abandon their corsets. Their bodies were
moulded into the ‘S-bend’ shape: bust out, hips back with the stomach smooth and flat. In her novel
The Edwardians (1930) Vita Sackville-West describes Lucy, the Duchess, being fitted into heavily
boned stays and suspenders: ‘The lacing would follow, beginning at the waist and travelling gradually
up and down, until the necessary proportions had been achieved.’ Next came petticoats, stockings,
drawers and pads to accentuate the hips. ‘Button, gathering up the lovely mass of taffeta and tulle,
held the bodice open while the Duchess flung off her wrap and dived gingerly into the billows of her
dress.’ It was a time-consuming business. The society woman's day was a whirl of dressing and
re-dressing: from day dresses to visiting dresses to afternoon dresses. For paying calls in the morning
she would wear tailor-made skirt suits, by designers such as John Redfern; taffeta-petticoated gowns
which rustled provocatively were expected in the evening. Only the early evening tea-gown, for which
couturier Lady Duff Gordon, ‘Lucile’, is remembered, allowed women to remove their corsets and
retire to their boudoirs. ‘ “One of my off-days Rose. ... Bring me the peach-blossom tea-gown, the
new one, and the big embroidered cloak. I’m stifling in these woollen things,” ’ writes Colette in her
novel Chéri (1920).
Designer Paul Poiret offered women some respite from corsets topped with lace and frills. After
serving apprenticeships with an umbrella maker and with couture houses Doucet and Worth, he
 opened his own Paris house in 1903. Along with the house of
Paquin, he introduced the Empire
line and a more fluid silhouette. The waistline shot up to hang
underneath the bust, and fabric fell
in a softly draped column to the ground. The rigid whalebone stays
vanished in favour of a more
flexible tube corset which dropped to hold in the hips, freeing the bust.
Poiret was delighted when,
in 1909, Sergei Diaghilev’s Ballets Russes came dancing into Paris. Léon
Bakst’s Eastern costumes
for Cléopatre and Schéhérazade had soon flooded the city in a wave of exoticism
. Poiret, inspired by
the oriental costumes and bright Fauvist colour, adopted a bold, theatrical style.
He began offering
soft tunics, harem pants, kimonos, turbans and long feathered plumes for
the hair. Other Poiret
innovations were cripplingly tight hobble skirts and lampshade dresses, with over-tunics
flaring out
from under the bust. In The Age of Innocence, published in 1920, Edith
Wharton describes
Newland Archer's pleasant surprise at his hostess’ outfit: instead of ‘a close-fitting armour
of whale-
boned silk . . . [she] was attired in a long robe of red velvet bordered about the chin and down the
front with glossy black fur’. Always the forward-thinker, in 1911 Poiret was the first couturier to
launch a fragrance, Rosine. He designed fabrics with painter Raoul Dufy and set up his own
design
school, the Ecole Martine, which sold the fruits of its creativity in an adjoining shop.
Only the very rich could afford made-to-measure clothes from a couture house. Those without
the budget commissioned dressmakers, shopped by mail order, bought patterns to sew at home or
visited department stores. Selfridges took full-page advertisements in The Times and attracted more
than 90,000 visitors to its opening in 1909, boasting ‘prices we believe are the lowest in the world’.
The competition for custom was fierce. Other stores like Debenham & Freebody advertised frantically
in the days leading up to the opening, D.H. Evans claiming: ‘Many imitate, but none excel.’
The fading popularity of the full corset coincided with a wider struggle for women’s freedom. In
London, suffragettes armed with umbrellas and hatpins fought with police and were thrown in gaol.
In Rome, Pope Pius X condemned the wearing of low-cut evening dresses in front of men of the
cloth, and in America women were arrested for wearing men’s costumes when swimming.
With world conflict looming, fashion was soon to shed its frivolous streak as Europe geared up to
dedicate its energy to the serious business of war.
12 The Belle Epoque

Miss Sedley wears a

delicately pleated,
draped, high-necked
gown, 1903. The
twisting lines of the
bodice emphasise
the corseted curves
of her silhouette,
and her high collar
would have been
held up by wire or
whalebone.
Hairpieces and hair
pads were often
used to create the
required volume,
and hair was held in
place with combs.
 The Belle Epoque 13

The décolleté style of these eveningwear dresses in this family portrait scandalously
contrasts with the high necks worn during the day. The fussy ‘frou-frou’ detailing of
frills, loose ribbons, lace and pleats were often set on a silk bodice base. This
would give way to a wide cummerbund and a sweeping skirt with a train. Evening
skirts were often decorated with flowers and tiers of pleated frills.
14 The Belle Epoque
 The Belle Epoque 15

Women walk from Henley railway station to watch the

Regatta during the 1905 Season armed with parasols
and shawls. Summer day dresses were usually made
in soft pastel colours such as lilac, white and pink,
and these may have been made of printed cotton.
Girls wore their hair long until they were eighteen,
when it was swept up in combs and pins.
16 The Belle Epoque

The Princess of Wales (centre), soon to become Queen Mary, attends a garden party at
Marlborough House in 1907. The child on the far right, in the boater, is the future King George VI.
Ostrich feathers were regarded as status symbols. Here they trim the ladies’ hats and are worn
draped around the shoulders. The sleeves of their intricately detailed dresses were typically cut slim
and covered from the shoulder to the elbow with a wide, gathered over-sleeve,
 The Belle Epoque 17
The British actress
Lillie Langtry was
the mistress of the
Prince of Wales,
later to become King
Edward VII. A noted
beauty, the Jersey
Lily’ looks decidedly
dowdy compared
with her film star
equivalents thirty
years later; at the
time, ostentatious
make-up was
considered vulgar.
18 The Belle Epoque

Dancers from a musical

play The Dairyma
(1906) demonstrate the
fashionable S-bend shape,
which was achieved by
lacing women into metal
or whalebone corsets.
Pads placed on the hips
and under the arms were
used to emphasise a
small, curved waist.
‘= © a elle Epoque 19
20 The Belle Epoque

The corseted body

shape that today
looks deformed and
unnatural was seen
as the ideal
womanly silhouette
at the time. This
hourglass figure
belongs to actress
Camille Clifford who
was nicknamed the
‘Gibson Girl’. Gibson
Girls were originally
characters created in
the fashion illustra-
tions of the
American Charles
Dana Gibson, but
the term came to
exemplify the
independent sports-
woman, with big
hair and a tiny
waist.
 The Belle Epoque 21
Camille Clifford
came over from
America and ended
up marrying the son
of Lord Aberdare.
She was one of a
small flock of
glamorous,
independent-minded
American women
who came over and
injected money or
beauty, and
sometimes both, into
British society.
22 The Belle Epoque

This photograph of
the actress Isabel
Jay shows the
opulent top of her
dress, an example of
the ornamental
brocade and
embroidery which
was part of the craze
for anything oriental
Silk flowers or
rosettes were often
placed on the high
waistline on evening
and day dresses.
 The Belle Epoque 23
A woman lifts her
visiting dress just
enough to show
three rows of
petticoats which
were worn to keep
the skirt in shape:
cut tight over the
hips it then flared
out at the back.
Before handbags
became an essential
accessory, women
wore small purses or
watches attached to
a chain draped
around the waist.
Such chains were
called chatelaines.
24 The Belle Epoque

Bloomer-style bathing costumes hung out to dry in 1909 (above).

Sunbathing was not yet fashionable and a certain amount of
modesty was expected. Even paddling was a tricky business in
1902 with long, wide skirts and layers of petticoats, bloomers and
suspenders all determined to get in the way (opposite).
The Belle Epoque 25
26 The Belle Epoque

This fur-trimmed
cape of 1902 was
probably worn as
eveningwear.
Although the low-
cut, frilled lace
evening dress looks
fragile, the frills
would be set over a
cage-like corset.
 The Belle Epoque 27
A beauty queen
hides under a lavish
cape from 1902.
Long coats and
skating outfits were
some-times topped
with a short,
matching cape
thrown over the
shoulders. This one
may have been part
of a tea gown
ensemble—long loose
dresses and wraps
which women
relaxed in, without
corsets, before
dinner.
28 The Belle Epoque

A gentlewoman
would rarely be seen
outside the house
without her hat (and
sometimes wore one
inside), and together
with long delicate
parasols, a hat
protected a lady
from that vulgar
notion, a suntan.
Hats were usually
pinned to the hair
pads which sat
below the natural
hair to give it body.
Fashionable hats
were trimmed with
flowers, fruit or
feathers.
 The Belle Epoque 29

Two working women wear white shirts, or shirtwaisters, and

long, dark skirts. This practical uniform was often worn for
sports activities and was also taken up by teachers and women
working in offices; in their way, they were an early equivalent
of the Eighties power suit.
30 The Belle Epoque

Miss Fundy poses in a long driving duster coat in 1912; probably

made of wool or gabardine, it is designed to protect her clothes.
Turbans were fashionable at the time and Paul Poiret had set the trend
as part of his craze for exotica. Driving was still considered to be a
dangerous sport and accidents were commonplace.
 The Belle Epoque 31

A 1906 competitor at Blackpool motor races. Women wore veils to protect their
faces and to hold on their hats. This driver would also have needed a long duster
coat for protection from the dirt. Goggles were sometimes worn and gloves were an
essential part of a driver's wardrobe. Duster coats may have offered protection but
they were particularly impractical.
29
Roy4 The Belle Epoque
 The Belle Epoque 33

A line-up of beauty queens from 1913 flaunt the modern Empire

line with its high waistline (left). From left to right are the Misses
England, France, Denmark, Germany, Italy and Spain. High
necklines were replaced by stiffe ned lace collars which fastened at
the back of the neck or as V-nec ks filled in with ‘modesty panels’.
The new streamlined style mean itthat society women could now
dress themselves without the he p of a maid. The sweeping skirts
and wide hats of 1906 (above) must have seemed cumbersome in
comparison.
34 The Belle Epoque

Two women appear to hang onto every word of the future King George V (opposite) in 1907.
The death of King Edward Vil in 1910 flung the country into mourning. These women at
Ascot (above) have translated their airy white dresses into mourning black with dyed hats,
parasols and feathers to match. Women at the upper end of society would rarely have chosen
to dress in black from head to toe if protocol had not demanded it.
 ea)
= <=o elle Epoque 3 5
 =)
Si 6 The B elle &

LCG se
OEEY

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 The Belle Epoque 37

Fashions influenced by Poiret included skirts worn daringly over harem pants (opposite) and
opulently trimmed cloaks at Longchamp in 1914: this one is probably velvet. Dresses with
ballooning panels which tapered at the thigh (above) were particularly popular in 1912 and 1913.
The one on the left slims down to a tight, hobble-style skirt. Hobble skirts needed underwear which
fettered the legs together, to make sure that the skirt was not stretched so that it ripped.
38 The Belle Epoque

A French racegoer in
1912 wears a
stream-lined dress
with soft ballooning
over-skirt, in a style
similar to dresses
designed by the
house of Paquin.
Madame Paquin
(her real name was
Jeanne Beckers)
was one of the few
female couturiers
working at the time,
and was known for
her lavish dresses
and pieces that
combined drapery
with tailoring.
 The Belle Epoque 39

Mrs Alice Keppel (centre), perhaps best known for being the mistress of King Edward VII,
with her husband and daughter in 1907. The wind catches the feathers on her hat while
her daughter holds firmly onto her own. Some hats were virtually turned into nests and
sometimes used whole birds as decoration. The craze for the Orient is illustrated by the
rich trim on Mrs Keppel’s coat, which could have been a brocade.
40 The Belle Epoque

The artist Vanessa

Stephen was the
novelist Virginia
Woolf's sister;
perhaps the only
studio photograph
for which she ever
sat, this was
probably taken on
the occasion of her
marriage to the art
critic Clive Bell. Both
were leading
members of the
Bloomsbury Group,
a set of bohemian
artists and writers.
Vanessa Bell was
known for wearing
daringly bright,
flowing robes but
here she is more
restrained in a
simple dress.
 The Belle Epoque 41
Lady Ottoline
Morrell, Bloomsbury
Group soc lety and

sometimes wore

the middle

hair which were

fashionable at the

appeared, Lady
Ottoline invariably
Caught the eye;
Quentin Bell, the
son of Clive and
Vanessa Bell,
described her as
7
‘that fantastic, FP rrnergge 0088
a?

baroque flamingo...
42 The Belle Epoque
 The Belle Epoque 43
The neat, practical
tailored suit evolved
from menswear and
was made
fashionable by
Queen Alexandra
who ordered travel
suits from master
tailor John Redfern.
Middle-class women
wore them in the
office and upper-
class women wore
them in the country.
This S-bend ‘tailor-
made’ of 1903
(right) evolved into a
hobble skirt version
(as worn by both
women, (opposite)
for 1914.
44 The Belle Epoque

Sport in its many

guises was now
fashionable, and the
rich had dedicated
outfits for particular
sports. Miss
Hepburn’s neat
dress has a special
ornate button at the
waist,at which she
has fastened her
archery kit. She is
drawing her bow at
the Ladies’ Day
meeting of the Mid-
Surrey Bowmen in
Surbiton, that
bastion of the
genteel classes.
 The Belle Epoque 45
rs Albu makes a
Spirited return on the
ennis courts of
Knebworth House,
Hertfordshire. Her
arge straw hat
would have been
securely pinned to
he pads worn under
her real hair. She
Wears tennis whites
made up of a simple
white shirt-waister
and white skirt.
 The Belle Epoque 47

DE SA he

The ‘great outdoors’ had come into fashion, and women were going to have to
exercise if they wanted to look svelte in their new Empire line gowns. Each sport still
had its designated costume. Ms Kyle's golfing skirt (opposite) would have been
made
of tweed, and she may have added a matching Norfolk-style jacket. For skating
(above) skirts were cut wide and fur was used to trim mufflers and long coats.
48 The Belle Epoque

The actress Gladys

Cooper, later to be
the star of stage and
screen in The
Second Mrs
Tanquery and My
Fair Lady, wears a
high-waisted Empire
line evening dress in
the new fluid,
classical style.
Although the fussy
frills have gone, the
surface of the dress
is still intricately
beaded. Feathers,
tiaras and jewelled
bands were often
worn in the hair for
the evening.
 The Belle Epoque 49
Actress Gertie Miller
on stage in The
Dancing Mistress of
19122 in full evening
dress with long,
white gloves, an
essential
eveningwear
a€cessory. Dresses
often had a small
over-jacket
incorporated into the
garment like this
one, which stops on
the thigh, breaking
the long column
skirt into two tiers.
50 The Belle Epoque

The Duncan dancers pose in classical costume, an influential fashion trend

of the time. Isadora Duncan had caused controversy with her free-moving
dance techniques that contrasted with the disciplined movement of classical
ballet. She danced barefoot to the music of Brahms and Wagner and later
founded her own dance school in Moscow.
 The Belle Epoque 51
The classical
costume is
translated into a
fashionable Grecian-
Style dress of 1914.
Designers Jacques
Doucet, Paul Poiret
and Mariano Fortuny
all borrowed from
the classical style,
but this dress was
probably a creation
by designer
Madeleine Vionnet
who opened her
house in Paris in
1912. She was
famous for her bias-
cut drapery and the
influences of her
style can be seen in
the later work of
Madame Grés and
John Galliano.
52 The Belle Epoque
 The Belle Epoque 53

The craze for the tango swept women off their feet, and in 1913 the
German army was banned from doing the dance. Here Marguerite
and Frank Gill demonstrate the Brazilian maxixe in 1914. Her dress
is made for dancing, its slit skirts and draped armholes allowing
easy movement. Popular tango shoes, like these in white satin, were
trimmed with ribbon ankle straps. The house of Paquin was famous
for its tango dresses.
54 The Belle Epoque

Dancer Anna
Pavlova
demonstrates how
edom from the
complete corset can

have been designed

by Mariano Fortuny
who also dressed
the dancer Isadora
Duncan. Fortu
coloured dresses
and cloaks with
vegetable dyes and
de ped a
sophisticated silk
pleating technique.
Ancient Greece
helped to influence
his famous pleated
Delphos gown,
which was tied to
the body with a silk
cord. In the 1980s
the Japanese
designer Issey
Miyake continued
the investigation intc
pleating techniques
for his Pleats Please
range.
 The Belle Epoque 55
Dancer Vera Fokina
in the Ballets Russes
production of
Schéhérazade in
1910. The
flamboyant Eastern-
Style costumes,
which were
designed by Léon
Bakst, had a major
influence on Paul
Poiret and the
houses of Worth and
Paquin. Poiret
introduced outfits in
bright silks and
brocades and
sweeping feathers
for the hair, and
women at the time
often wore ropes of
pearls strung around
the bodice.
56 The Belle Epoque

pleating on this
dress from 1909
has been

than Fortuny’s loo

tunic dresses.
Fortuny dyed silks in
graded colours, use
Murano glass beads
from Venice as
decorative weights
on hems and
sleeves, and drew
his inspiration from
Ancient Greece and
the Orient.
 The Belle Epoque 57
Actress Ina Claire
wears a dress that is
almost certainly the
famous ‘lampshade’
dress designed by
Paul Poiret. The
floating circle of fur
that she touches
with her wrists
contrasts with the
smooth, draped
column line of the
dress which falls
from below the bust.
The hem would
have been wired to
make sure that it
stood away from the
body.
58 The Belle Epoque

O\.
LO)
a

Two women wearing opera capes: (left) this one is designed

by Lady Duff Gordon and made from numerous individual
mole skins and, (right) black brocade inset with rose tafeta,
worn over a silver lamé dress. The lavish materials and
classical headdresses are typical of Poiret’s style.
 The Belle Epoque 59
Actress Daisy Irving
poses in what is
probably a two-
tiered ‘lampshade’
dress by Paul Poiret,
1910. His loose
silhouettes reduced
the need for as
many underclothes
as a ‘frou-frou’ dress
would have done,
and the bosom was
freed from the
confines of a corset.
60 The Belle Epoque

Royal mistress Lillie

Langtry
demonstrates the
fashion for slinging
long beads or pearls
over a low cut
evening dress.
Ornate jewels and
tiaras decorated the
hair for the evening.
Miss Langtry is
wearing a jewelled
laurel wreath that
makes reference to
the trend for
classicism. Her
lavishly embellishe:
and beaded dress
may have come
from one of the tor
couture houses,
such as Jacques
Doucet.

OAS,
Sea
 The Belle Epoque 61

Queen Alexandra (above) wears a Cartier

necklace in 1910. She was famous for wearing
high chokers in the style shown and for wearing
a daring amount of make-up, in so doing
rejecting the fashion for natural complexions.
The detailing on this elegant black dress (right)
perfectly sets off the lavish jewellery worn
around the neck.
62 The Belle Epoque

The ballooning skirt of this day dress (above) tapers in to

reveal two-tone leather boots which would have stopped
just above the ankle. The parasol is trimmed with swan's
down. Hobble skirts, introduced by designer Paul Poiret,
were cut so tight that women had to take tiny steps to
make any progress (right), They usually had tiered or
single over-skirts and this one in black is by Biret.
 The Belle Epoque 63
The actress Gaby
Deslys, famous for
introducing Europe
to American jazz,
poses in the new
Empire, or
Directoire, line. The
fluidity and ease of
her dress, which is
without frills, pleats
or fussy trimmings,
contrasts with the
‘frou-frou’ dresses of
the early 1900s.
Her skirt would have
fallen in a
streamlined column,
and long ropes of
pearls were
particularly popular
for evening dress.
 ohi

2 Suited and Booted

1914-1919

ae
aa

>«»

A Parisienne takes a stroll with an army officer in 1916; she

wears the new, relaxed wrap-style coat with its belt tied slightly
above the natural waist and sensibly large pockets for times of
war. Shorter skirts that showed off the ankles were more practical
than the hobble skirts that restricted movement.
2 Suited and Booted
1914-1919

The outbreak of war in August 1914 cut short the wave of oriental extravagance. Fashion sobered
up, with an emphasis on practicality, comfort and simplicity, as women learned to manage without
their men or their maids. Relaxed, sporty dressing and dark coloured clothes (previously considered
unladylike) came into fashion. Brassiéres, jumpers and masculine Norfolk-style skirt suits reflected
the modern independent mood.
War dictated that women should now stride out rather than hobble. Fashion soon followed with
the introduction of new wider flared skirts and hemlines which crept up to stop below the calf. The
couturiers reacted to the restraints of the war, Jeanne Lanvin with relaxed chemise-dresses which
were to become more popular in the 1920s, and the house of Paquin by combining drapery and
tailoring for versatile day to evening dresses. Cloaks fell from the shoulders and jackets were belted
just above the waist. Some fashion fads only touched those at the cutting edge: a revival of crinoline-
style evening dresses and the frumpy barrel skirt that ballooned at the hips and tapered at the ankles.
By 1918 waistlines had dropped to just above the hip.
One woman was to mark fashion history: Gabrielle Coco Chanel. A milliner based in Deauville,
she dressed high society women fleeing the German advance on Paris and Northern France. Women
who arrived without a stitch of clothing turned to Coco (a name Chanel acquired singing at a music
hall) for straight skirts, sailor-style tops and simple hats. She went on to become a fashion pioneer,
setting up a boutique in Biarritz and later establishing herself in Paris. The Chanel style shocked with
its simplicity and offered women a casual elegance. Coco bought a run of jersey that had been
rejected for the manufacturing of men’s underwear and made short, straight skirts and streamlined,
waistless dresses. Straight V-neck dresses were designed to tie at the hip with a scarf and belted
jumpers, which, radically pulled over the head, were to be worn over simple skirts. Stylish, groomed
 and burning with ambition as she was, Chanel’s own
appearance was itself a successful promotional
tool for her business. With Jean Patou she went on to
introduce modern sports clothes as daywear,
which redefined the way women dress.
In Britain, the war marked a turning-point for the equality
of women. In 1918 married women
over thirty were finally allowed the vote (women over twenty-
one would have to wait until 1928)
and in 1919 Nancy Astor was elected as the first female MP.
No man could argue that they had not
earned it. During the war the numbers of working women in
Britain increased by 1.2 million; they
were sent down mines, into factories and out to the fields, in
addition to nursing, driving ambulances
and doing office work. As a result of donning uniform, they threw
away their romantic notions of
fashion. They wore trousers and breeches, and tailored suits for the
office.
During the post-war years women chose a more streamlined silhouette
. In Mrs Dalloway (1925)
Virginia Woolf writes: ‘To his eye the fashions had never been So becoming;
the long black cloaks;
the slimness; the elegance; and then the delicious and apparently universal
habit of paint. Every
woman, even the most respectable, had roses blooming under glass; lips
cut with a knife; curls of
Indian ink.’ Fashion was entering the Jazz Age.
uited and Booted

Dame Ethel Mary

Smyth, the British
composer and
suffragette, sporting
a flat hat similar to
the style worn for
motoring which was
fastened to the head
with scarves. Her
sporty tweed outfit,
trimmed with velvet,
might have been
part of a tailored day
suit or a sports
jacket for an activity
such as golf.
 Suited and Booted 69

The suffragette Lady Emmeline

Pethick-Lawrence wears a large duster
coat, which she would have worn
when out driving in an open-topped
car. Duster coats were cut large and
long so that they could wrap around
the body to shield clothing.
70 Suited and Booted

Id
sai
May
2. 8913
surfAcslt l
HATED BY GHRISTAREL As

Suffragettes in practical tailored suits and mannish ties do their

bit for the cause. 1913 was the year the suffragettes held ‘baby
shows’ to prove that they could both fight for the vote and be
good mothers. The suffragette colours were purple, white and
green, but many preferred simple suits and practical hats.
 Suited and Booted 71
A suffragette
recovers in police
custody, 1940. She
had fainted during a
raid on Buckingham
Palace where
women, some
armed with Indian
clubs, had tried to
break through a
cordon of police in
order to hand the
King a petition. Her
simple, bell-shaped
skirt and tunic top,
which may have tied
with a sash at the
back, shows how
the ordinary woman
would have dressed
at the time.
72 Suited and Booted

Women workers in the Food Control Office sort sugar cards for
distribution to the civilian population, 1917.Their uniform of
long skirt and white shirt was sometimes accessorised with a
man’s-style knotted tie, as exemplified by the woman seated
on the left in the photograph.
 Suited and Booted 73
An Edwardian
woman in 1917
also dresses in this
practical style
borrowed from the
boys. Knotted bow
ties were sometimes
worn instead of the
long ties that hung
down the front of the
shirt. Strands of
pearls and the
decorative pattern on
the tie add a
discreetly feminine
touch.
74 Suited and Booted

SUI 9,
* 0'6°6,6.6-¢ SX)
CXXKAARK XOX >
VIMO, COUS
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&¢
NOK Vata?

The Women’s Fire Brigade (above) in training for the job, wearing loose, protective dresses, 1916.
A young worker (opposite) mends army uniforms in America, Her sailor suit-style dress is typical
of
childrenswear at the time. Boys would have worn a similar top, but with trousers. The bows
which
girls wore in their hair became known as ‘flappers’ because of the way they fell onto the
head. The
name would stick with this generation, as they grew up in the Twenties.
 Suited and Booted 75

Sei
76 Suited and Booted

A line of policewomen, newly recruited for duty, at a munitions works,

1917. Some women wore trousers for this sort of work. It was against
the rules to wear anything that contained metal when undertaking
munitions work; this included metal supports in corsets. By 1915 many
women were working twelve-hour days in factories for the war effort.
 Suited and Booted 77

The same policewomen recruits pose

in their civilian clothes, at first glance
little different from uniforms. The stern
line is broken up only by two women
wearing opulent fur coats.
78 Suited and Booted

The trench coat, an essential part of a soldier's uniform, was

soon adopted by civilian men and women. They were made of
beige cotton mixes or wool, and detailing included a sturdy belt
and storm cuffs. These lightweight coats could easily be
thrown over a tailored suit or dress, and might be bought from
companies such as Burberry. Later on, trench coats or
mackintoshes became standard commuter fare, and were worn
over a suit for travelling to work.
oO)
iss
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fe)
a
oS
©
oO
Oo
gy
n
rage
80 Suited and Booted

A London woman greets an American soldier as he marches

through the capital in 1917. The skirt of her softly tailored
summer suit may have been made from linen and a minute
row of buttons may also have run down the front of her
jacket to match those on her sleeve.
 Suited and Booted 81
An American soldier
Says goodbye to his
girl at home in
1917. Upright
feathers on hats
were fashionable at
the time and were
also used to
decorate turbans
and bicorne hats.
This woman’s loose
jumper-blouse was a
new, relaxed piece
introduced by
Chanel which pulled
over the head and
fastened with a
loose sash at the
waist. The white
cuffs and collar are
very typical of
Chanel. She wears
practical lace-up
boots.
82 Suited and Booted

Austrian women bid farewell to mobilised troops in 1914. Short-

brimmed and brimless hats were typically softened with fabric
scarves and felt petals. The tasselled bag held by the woman on
the left would have been constructed using a metal frame. By
then the silhouette had loosened up and simplified, with loose
skirts and easy coats, or tailored skirt suits. The waistline had
almost fallen back to its natural place once again.
Suited and Booted 83
84 Suited and Booted

Department stores
were where the
middle-class woman
could go to buy her
clothes ‘off the peg’,
including the latest
Paris copies. Some
stores also had
dressmaking
departments. These
female lift operators
FOR
at Swan and Edgar
{adiesa Childi in London's

utfittin}
Piccadilly wear
braid-trimmed
AND uniforms.

“orset.
Next Floc
elephone
 Suited and Booted 85
Doorkeepers at
Selfridges in Oxford
Street, one of
London's most
famous department
Stores, 1915. They
are dressed in long,
practical duster-style
coats, probably in
beige, with small
logos at the cuff.
When Selfridges
opened in 1909, the
public was warned
not to tip the
doormen or staff.
86 Suited and Booted

Christmas shoppers outside Bourne &

Hollingsworth in London's Oxford Street in
1919. As well as going to department
stores, women could order clothes and
accessories from mail order catalogues,
 Suited and Booted 87

A queue forms for a film at the New Gallery cinema in 1918. Charlie
Chaplin films
and newsreels made popular viewing at the time. The simple lines of women's
suits and coats make the clothes of the older woman (right of the picture)
in her
fussy Belle Epoque-style cape look dated. Hats were no longer so flamboyant
and
simple styles became everyday wear.
88 Suited and Booted

RY AVENUE-UPPER‘

PATA si
esas AAAS ——E TE as

SPEED~—I2 M.
This ‘clippie’, wearing a short skirt and braided trim
jacket, cheerfully takes on the role of bus conductor,
a job usually given to a man, 1917. Her flared skirt
is of a similar shape to women’s daywear skirts of
the time, but it is cut much shorter. As if in
deference to modesty, her boots go further up her
leg than those worn for civilian dress.
SME
90 Suited and Booted

Te eon Scene e
 Suited and Booted 91
Two of the many
women who
replaced male
porters at London’s
Marylebone Station
in 1915 (opposite).
Their pinafore-style
overalls were worn
for practical
purposes to protect
their long, dark
dresses. Pinafore-
wrap dresses
became a
fashionable style for
women during the
1940s. This female
guard (right) on the
Metropolitan Railway
Wears a Skirt that is
daringly short for
1916. Her long
boots and tight,
nipped-in jacket look
very modern
compared with the
long, loose suits
which women wore
when out of
uniform. This
streamlined style
would not be taken
up for everyday wear
until the 1920s.
92 Suited and Booted

Women of the WAAC take to the dance floor in 1918. Large pockets with leather
buttons and high-belted waistlines were also a popular detail on civilian clothing.
 Suited and Booted 93

Sacrificing their feminine tresses (and clothes) for the cause, these Russian women
are possibly part of the thousand-strong Women’s Death Battalion which tried to
protect the provisional government meeting in the Winter Palace in Petrograd when
the Bolsheviks stormed the building in 1917.
94 Suited and Booted
 Suited and Booted 95
Women forestry
workers sharpen
their axes in 1918,
wearing masculine-
style breeches
(opposite); a Land
Girl, also in
breeches, vaults
athletically over a
gate (right). Women
were allowed to
adopt more practical
masculine clothing
for war work. They
now wore brassiéres
and in 1916 the first
birth control clinic
was opened in
America. With so
many men away at
the war, who was
there to complain?
96 Suited and Booted
 Suited and Booted 97

Armaments factory workers in about 1916 (opposite). They are wearing trousers, something
previously unheard of for women. Caps keep their hair out of the way of the dangerous work they
are likely to be undertaking. Post Office workers (above) display the uniform of the working woman
during the war, a shirtwaister and long skirt. The woman on the far right shows off her tiny waist
with a neat sash and demonstrates the new silhouette, with its high waist and flared, loose skirt.
98 Suited and Booted

The first woman bus driver marries a soldier in 1916 (above); both are in the uniform of
their trade. Women also wore cream silk suits teamed with wide hats as an alternative
to the traditional wedding dress (opposite). Dresses were high-waisted, and often had a
V-neck tunic-style bodice which fell over a skirt; wax and silk flowers were used to trim
net veils. As couples were reunited at the end of the war, weddings boomed.
100 Suited and Booted

m
rm

ee
eee
ee
e

da

Women expose their fur trims and mufflers to the wet weather,
braving the elements to pose with war hero Captain Ball VC.
The woman on the left carries a small bag, which could have
been made of metal mesh and lined with brightly coloured
satin, a fashionable style at the time. Her bell-shaped coat
contrasts with the more flared version of the woman on the
right. Both shapes were popular during the war.
Suited and Booted 101
102 Suited and Booted

Crowds in America
celebrate the end of
the war in 1918.
Now that skirts were
shorter, women
often wore boots
rather than shoes,
with lace-up or
button-up
fastenings. Canvas
panels were
sometimes used for
boot uppers to
economise on
leather, giving a two-
tone effect, as worn
by both women
giving their soldier
boy a lift.
 Suited and Booted 103

Partying at the Ritz Hotel, London, on the first anniversary of the

Armistice, November 1919. For evening, women wore loosely draped V-
neck column dresses under kimono-style wrap coats, which were
sometimes detailed with tasselled ties. Fans, feathered headdresses and
long, white gloves were the right accessories for more lavish evening
events.
104 Suited and Booted

The jumper-blouse
in cotton or silk was
a style which Chanel
helped to make
fashionable, and
offered women a
comfortable
alternative to a shirt,
bodice or tunic top.
They were slipped
over the head rather
than fastened with
buttons or tied on,
and tied at the waist
with a sash. In this
photograph Mrs
Whiple is shown in
just such an outfit at
home in her
conservatory.
 Suited and Booted 105
A woman relaxes in
a softly tailored
jacket and wide
skirt, 1916. The
clothing creates a
silhouette that is
almost identical to
the skirt and jumper
shown opposite.
106 Suited and Booted

These bathing costumes of 1918 are probably made out

of knitted wool. For the sake of modesty, drawers were
sometimes covered with skirts, and caps or headscarves
were used to protect the hair. The cap on the left looks
as if it is made out of rubber.
 Suited and Booted 107

The Prince of Wales and his party are snapped by eager Royal-watchers in 1919. War and the designs of
Coco Chanel had helped to break down the class barriers as exemplified by dress codes. Society women
now worked and, when their servants left to join the war effort, as many did, they adopted a more simple
fashion style. White cotton dresses were worn by both upper- and working-class women. Those seen here
were possibly made of satin, and tucks and folds running across the skirts were a popular detailing trend.
108 Suited and Booted

(Above) Sporting ladies wear their tennis whites at The Queens Club in London in 1918. The
sleek jumper-blouse (above, left) worn by the woman on the right was probably made of
knitted silk. Tennis outfits were similar to golfing outfits (opposite), but a plain skirt replaced
the pleats and lace-up shoes were worn instead of slip-ons. Shoulder bags were not widely
used for daywear, but the one carried by the woman in the middle may have held golf balls.
Suited and Booted 109
110 Suited and Booted

The Harrodian ladies’ football team lines

up at Barnes, in London, on a cold
November day. If breeches were allowed
for the war effort, then why not shorts for
sport? The wool caps, similar in shape to
those worn for factory work and
swimming, kept the girls’ hair tucked
away and off their faces.
Suited and Booted 111
112 Suited and Booted

Guests arrive at Buckingham Palace (above), the woman on the right wearing an opulent
scarf
around her dress, 1919. White would come to be accepted as a colour suitable for mourning,
since by the end of the war so many men were dead, but efforts were also made to produce
more fashionable clothing in black. Cloaks were thrown around the shoulders for evening
and
more formal occasions (opposite); the one shown is a particularly lavish number in velvet and
fur.
Suited and Booted 113
 Suited and Booted 115

For lazy days away from the horrors of the war, wide
straw hats, cotton summer dresses and music by the
riverside were just the thing.
116 Suited and Booted

This lavish coat,

made in Paris, is cut
in the popular
curved, bell-shaped
silhouette of about
1916 (left). Military
braiding and
frogging became
fashionable as a trim
on womenswear
(opposite). This
woman also wears a
fashionable bicorne
hat. She might have
been wearing a
tubular-shaped skirt
underneath, which
became the most
fashionable shape of
1919.
117 Suited and Booted
118 Suited and Booted

Hair was sometimes

parted in the middle
and swept into a
chignon at the back,
but the most modern
styles were bobbed
and waved like this
one (left), a style
that sat neatly under
the popular, close-
fitting hats.
(Opposite) Socialite
Lady Diana Cooper
wears her hair short
in 1916. Her long
beads, headband
and loosely draped
dress are
reminiscent of the
easy Classical styles
promoted by Paul
Poiret and
Madeleine Vionnet.
n ® 153 © 2 jaa)fe)fe)g zo) = = (o)
3 Boom and Bust
1920-1929

Bdi
T
ee
be
en
Che
oo
Mi
n-

Talking to the water. Poling away from the jetty,

this girl has gone punting wearing a sporty dress
cut in the straight up and down garconne style
popular in the mid-Twenties. Scarves and cloche
hats were fashionable accessories.
3 Boom and Bust
1920-1929

was no
In all walks of life, the 1920s celebrated youth and life after the dark war years. Fashion
girl’
exception. As if to compensate for the deaths of so many young men, an androgynous ‘bachelor
silhouette emerged. Skirts became daringly short, breasts were flattened with bandeaus and
waistlines were slung on the hip. Women smoothed their hair into a short shingle or a boyish Eton
crop, then hid it under a tight cloche hat.
Chanel’s designs epitomised this ‘borrowed from the boys’ look, with nautical sailor trousers,
reefer jackets and blazers as well as more classic pyjamas, open-necked shirts and jumpers. Her
cardigan suit and more feminine ‘little black dress’ have remained timeless classics. Why should a
girl wear diamonds when she could wear string upon string of fake pearls? Chanel made costume
jewellery acceptable and created Chanel No. 5, a fragrance which (unfashionably for the time) smelt
nothing like a flower.
Fashion continued to hang loose. Women needed to exercise to stay slim and wanted clothes in
which they could move and dance. The great outdoors were in fashion and Jean Patou opened a
sports shop and made clothing for the golf course, the piste and the tennis court. He designed sporty,
elegant resortwear that was minimal but easily recognisable when emblazoned with his JP logo of
1924. In addition, Patou livened up his clothing by borrowing geometric motifs from the thriving
1920s art scene, namely Cubism and Art Deco.
The fashion industry was not forgotten at the 1925 Exhibition of Decorative Art in Paris. The
womenswear market was specifically targeted in a move that was unusual for the time. The visitor
could see jewellery by Boucheron and Cartier and admire the work of couture houses Jenny, Paquin
and Vionnet. Couturier Jeanne Lanvin showed off her interior design skills and, on the Seine, Poiret
filled three barges with modern furniture and textiles.
 The Roaring Twenties brought with them a passion for the jazz music
of
Jelly Roll Morton, night-
clubbing at Le Boeuf sur le Toit in Paris and dancing the Bunny Hug
and the Kickaboo.. ‘ “Oh, Nina,
what a lot of parties.”... (Masked parties, Savage parties, Victorian
parties, Greek parties, Wild West
parties, Russian parties, Circus parties... dull dances in London and
comic dances in Scotland and
disgusting dances in Paris).’ wrote Evelyn Waugh in Vile Bodies (1930), his
novel about the ‘Bright
Young Things’ of the 1920s. As the skirts went up, morals went down,
and doctors warned that
women were turning to cigarettes and alcohol to fuel their debauched lifestyles.
Where the term
‘flapper’ had once described debutantes before they ‘came out’, now it referred
to any young woman
obsessed with dancing the Charleston to the frenetic sounds of Bix Beiderbecke, dressed
in rolled-
down stockings, T-bar shoes and short skirts.
Not every woman wanted to look like a flapper, however. The harsh Twenties cut
only flattered
those with a boyish, adolescent figure. Because chemise dresses and jersey separates were
stark and
unforgiving, women would soften the look with beading and opulent fabrics. They piled
on the
bracelets, scarves, hats and feathers. Selfridges stocked coloured beads 100 centimetres
long, and,
in an advertisement in The Times, explained: ‘Usually only three shades are worn: to match, to tone
and to contrast with one’s gown.’ At the end of the decade shapes became softer and clung to the
figure, rather than ignoring the natural curves. Designer Madeleine Vionnet made bias-cut, fluid
dresses for the more womanly silhouette by draping, gathering and twisting fabric so that it swept
over the body in a classical style. She realised her ideas on miniature dolls before working full-scale
and was a forerunner of the bias-cut glamour dresses that became fashionable in the Thirties.
The words of Jean Cocteau in his 1921 novel The Miscreant were remarkably prescient:
‘Fashions die young. That is what makes their gaiety so grave.’ In 1927 dancer Isadora Duncan
strangled to death as her scarf tangled in the wheels of her sports car. This sinister fashion moment
pre-empted the end of an era. On Black Thursday, 24 October 1929, the Wall Street Crash brought
the world economy tumbling down, marking the beginning of the Great Depression. Life looked set
to be tough, and, ever in tune with the times, Patou made the hemline fall, too.
124 Boom and Bust

printed dresses
(opposite) and

Palace. The dress

1 by the woman
on the left could
have been made of
silk or the synthetic,
rayon
aa) 0m and Bust 1225
126 Boom and Bust
 Boom and Bust 127

Long, wide-skirted ‘picture dresses’, or robes de style, offered a feminine look at the beginning of the Twenties, and were
often executed in pastel colours. The dress with a floating, panelled skirt (opposite) and the dress with the bow sash
(above, right) are both by couturier Jeanne Lanvin, who was particularly known for her beaded and embroidered picture
dresses. The fern-printed dress (worn by the woman on the left) is by the house of Jenny and is worn with a chain ankle
bracelet. Robes de style were often worn with wide straw hats and this one (above left, woman on the right) is trimmed
with a silk flower.
128 Boom and Bust

The bold printed textiles of these 1921 dresses

help to break up the silhouette, and matching
parasols emphasise the prints. The early Twenties
brought with it a softer style: skirts often fell wide
from a dropped waist, and sweeping cloaks were
worn over dresses for evening. Fashion had not yet
given way to the straight up and down look.
Boom and Bust 129
130 Boom and Bust

Folk art motifs were used on dresses and coats as detailing, and they appear on the skirt of this robe de
style (above, left). So as not to make this crinoline-style dress (above, right) seem heavy, designer Jean
Patou has used thin, semi-transparent fabric, showing a double-layered underskirt underneath and light
embroidered detailing. Rosettes and circular ribbon motifs were popular at the time (above, centre), and
small purse bags were often attached to pieces of clothing disguised as bunches of flowers.
 Boom and Bust 131

Robes de style looked romantic, while chemise dresses were sleeker and less overtly
feminine. This dress (above, left) uses sheer fabric, frilled cuffs and floral embellishment to
create a sense of fussy femininity, whereas the frills and flowers on this square-cut dress
(above, right) are used to soften what could have been a very minimal shape. The bands
of print continue the tiered effect up to the neckline.
132 Boom and Bust

o7

Racegoers on the first day of Ascot in 1926. The bold

geometric outfit of the woman on the right contrasts with the
delicate pleated dress of her friend. The former wears a suit
which, although it follows the wide-skirted lines of a typical
robe de style, is without the feminine frills and delicate
organza associated with the look.
Boom and Bust 133
134 Boom and Bust

At the Ascot races a woman prepares to put up

her umbrella against the rain in 1926, When the
weather was sunny, however, parasols were no
longer essential accessories, as having a suntan
was now becoming fashionable.
 Boom and Bust 135
At Ascot in 1928
the woman on the
right has chosen to
Wear a softer, more co
elegant dress with
sheer and floral
detailing similar to
the picture dresses
fashionable at the
beginning of the
Twenties. Her wide
straw hat is more
Suited to this look
than a sleek cloche
might be.
136 Boom and Bust

An androgynous
model wears a
velvet coat designed
by Jane. The
frogging fastenings
and braided pockets
were fashions that
had continued from
the First World War,
where they were
references to military
dress. Chanel was
known for her more
simple cardigan-style
braid-edged jackets.
The model's hat is
made of felt, and her
lips are
exaggeratedly made
up into the
fashionable ‘bee-
sting’ shape.
 Boom and Bust 137
Two coats decorated
with ornamental
buttons are worn
with cloche hats.
Jeanne Lanvin
produced dresses
with rows of round
steel buttons, and
these may well be
by her. Lanvin was
made famous by
selling matching
mother-and-daughter
outfits before the
war, and during the
Twenties she moved
on to Aztec
embroidery and
dinner pyjamas.
138 Boom and Bust

The little black dress was made fashionable by Coco Chanel and Edward Molyneux and was promoted by
American Vogue in 1926. Black dresses had not previously been fashionable for society women, unless
they were in mourning. For one thing, they made a good base from which to show accessories. A velvet
dress by the house of Jenny (above, left), another dress by Jenny showing off a tasselled lipstick holder
(above, centre), and a dress by Madeleine Vionnet (above, right) with signature scalloped panels.
 Boom and Bust 139

The plain black dress by Bernard (above, left) draws attention to the rosette motif at
the hip and the decorative buckles on the shoes. An embroidered belt has matching
cuff detail (above, centre) which resembles a fashionable row of bracelets. The
dress is by the House of Jenny. The tiered pleats of crépe de chine of this Phillippe
& Gaston dress (above, right) help to soften the silhouette.
140 Boom and Bust

The long, white

evening gown by
Norman Hartnell
(left), 1924, might
well have been
aimed at the
debutante market.
Classical drapery
would be taken up
again as a trend in
the 1930s by
Madeleine Vionnet.
Dancer Irene Castle
(opposite) poses in @
classical-style dress,
1922.
 Boom and Bust 141

Soe
 142 Boom and Bust

The class of 1927. Debutantes take lessons in how to curtsey

elegantly when presented at Court. The trick was to keep your
balance without showing your underwear or tripping on your dress,
The ostrich feather fans may have been a reference to the Prince of
Wales's feathered insignia.
 Boom and Bust 143

Joan Gatti arrives at Buckingham

Palace in 1929 to be presented to the
Queen. The occasion demanded a
formal white dress with a train and
she is dressed accordingly.
 144 Boom and Bust

French tennis star Suzanne Lenglen reaches to

make a return at Wimbledon in 1922. Her
daringly rolled-down stockings in the ‘flapper’
style had the more conservative members of
society tut-tutting, and her on- and off-court
wardrobe was designed by master sports
designer Jean Patou.
Boom and Bust 145
146 Boom and Bust

Couturier Jean Patou

(left) was renowned
for his sporty
clothes. The clean
lines of the summer
dress worn by his
companion are
subtly broken up by
a feminine scarf.
This is a very good
example of how the
leisure look of the
war had evolved into
a simpler style by
the 1920s.
 Boom and Bust 147

The Dolly sisters, with Madame de Brissac centre, dressed in relaxed resort-style
clothing at Deauville in 1922. The suit on the right could have been trimmed with
braid, and may have been by Chanel, who had a boutique in Deauville. The white
dress is reminiscent of tennis dresses worn at the time, but this Dolly sister is
unlikely to have played tennis in her high heels.
148 Boom and Bust

(Right) The 1924 Diaghilev Ballets Russes Le Train

Bleu, costumed by Chanel, shows the quintessential
sportswear fashions of the 1920s. The role of the
tennis player, danced by Bronislava Nijinska, was
inspired by French tennis star Suzanne Lenglen, who
is pictured (above) the same year at Wimbledon with
René Lacoste (of crocodile logo fame). The costume of
the golfer, danced by Leon Wozikowsky, on the left,
was inspired by outfits worn by the dapper Prince of
Wales. The other dancers, Lydia Sokolova and Anton
Dolin, are dressed in jersey bathing costumes.
 Boom and Bust 149

Re
150 Boom and Bust

Tennis player Dorothea Lambert Chambers teaches the backhand to two of her pupils
in
1921. The high waistlines and bell skirts of these simple dresses are similar to wartime
styles.
The white dresses help to set off their fashionable suntans.
 Boom and Bust 151
RR

Film star Gloria Swanson wears a Suzanne Lenglen-style

headband, and shows off her perfect curls and eyebrows
plucked almost to nothing.
152 Boom and Bust

When Tutank-
hamen’s tomb was
discovered in 1922,
fashion reacted by
creating a craze for
things Ancient
Egyptian. This tunic-
style dress (left) is
decorated with
Egyptian hieroglyph
motifs. There was
also a fashion for
anything in the
Chinese style, as
illustrated by this
opulent silk dress by
Rolande (opposite,
left), and accessories
in the style included
Chinese brocade
bags. The skirt pane
of bold florals of this
1925 coat
(opposite, right)
pulls the eye down
the body to the hip
and away from the
waist, So empha-
sising the drop-
waisted, boyish cut.
 Boom and Bust 153

hy
Mls‘ 4 4
fi
wt
154 Boom and Bust

The schoolgirl look

outfit worn by the
woman on the right
is an example of the
boyishly cut ‘flapper’
separates favoured
during the Twenties,
and her andro-
gynous accessories
include a beret and
a tie. Her cardigan is
probably made of
jersey. The checked
dress worn by her
companion on
the left is by
Parry, 1925.

eS eS eS BRIE
ee eS Se Se Se el
gE
sgBEHRMAN ERE EN
PEe ee ee eS oe
he
Pee eee eS SS
Ss oa
PSS sees
ee eS oe eal
tl
semRgamess
Pes Bal
3;Do BUaESES
eee eS
‘i pe att
Pe as So game
' peaeet
 Boom and Bust 155

Two women model

the latest fashions in
Deauville, Aug
1925. Chanel
favoured nautical-
Style references in
her clothing, as well
as blazers and
straight skirts, an
these two outfits
could well have
been designed or
influenced by her.
The woman on the
right displays a very
short Eton crop
haircut; women
sometimes used
brilliantine to
achieve a slick shine
for their short hair.
156 Boom and Bust

A well-groomed
Coco Chanel poses
in her signature
style: an easy
cardigan suit, two-
tone shoes, strings
of pearls, and
bobbed hair, a look
which is still a
classic of today.
 Boom and Bust 157
a
This picture (and the
one opposite) was
taken in 1929,
when Chanel was
forty-six, the year in
which she opened
an accessories
boutique attached to
her Paris salon. The
pearls on the pin
trimming her straw
hat are extra large.
Chanel played with
oversized costume
jewellery that did not
pretend to be real.
158 Boom and Bust
 Boom and Bust 159

Teerits st
pittece sate

Straight up and down jersey separates (opposite) are typical Chanel style. This outfit is by the
Mattita fashion house. The V-neck jumper of this streamlined, hand-knitted suit is in rust-
coloured silk (above, left). Tasselled bags complemented the fringed dresses of the era and
cloche hats, softened with veils or turban styles, were worn at the end of the decade. This
knitted wrap (above, right) reflects the drop-waisted cuts of the era with its hip-height stripe.
160 Boom and Bust

The Paquin knitted

loose dress and
matching knitted
coat are examples oj
the loose, unstruct-
ured dressing which
women enjoyed. The
graphic patterns
make references to
the modern art
movements happen-
ing at the time.
 Boom and Bust 161
These outfits by
Wilson’s of Great
Portland Street,
London, make a
direct reference to
the pioneering styles
of Chanel and
Patou. Chanel
introduced jersey
dressing, such as
the cardigan suit on
the right, and similar
outfits were worn
when playing golf
But it was Patou
who used graphic
sporty lines and
even logos on his
designs.
fj
 Boom and Bust 163
Ballet dancer Kyra
Alanov. a Wears an
£3

exotic dri
8 (Eo!
& ®BS

©
va)
-<<
& £ 6 9°
2)

3
Q. a

jal
S

Ww
g
a4
a]

influenc ed by Sonia
oOBw cw
5S ee
ao oR
2fe) e
‘6S
Oui.
Marti ne.
164 Boom and Bust

(Left) This outfit of

1929 is similar to
one of Jeanne
Lanvin’s Breton suits
whose short, braided
jacket was decorated
with buttons and
worn over a white
collared shirt with a
red bow. (Opposite)
Walking frocks of
1925 use thick,
sporty stripes and
rich oriental patterns
in addition to the
fashionable button
decoration. The
cloche hat on the
left is loosened into
a turban style.
Boom and Bust 165
 eiitnasanasteiy EE ae ee
isk
SS a
aco
o<
O oO a S
 Boom and Bust 167
Edith Wilson dances
the Black Bottom
from the London
show Blackbirds in
1928 (opposite).
Her square-cut dress
allows for maximum
movement and is
decorated with a
linear motif
influenced by the Art
Deco movement.
(Right) World
champion
Charleston dancer
Bee Jackson wears
a beaded and
fringed dance dress,
popular at the time,
as the fringes would
shimmer and shake
and draw attention
to movement. This
dress is shorter than
the typical styles of
the era. Paste
jewellery known as
‘slave bracelets’ was
often worn high up
on the arm as well
as at the wrist.
168 Boom and Bust
 Boom and Bust 169

Champion Charleston dancer Gwendlyn

Graham with the chorus of the revue
Blackbirds. They rehearse in jersey leotards,
similar to bathing costumes worn at the time,
and a style that Claire McCardell was to revisit
in the 1940s. Their rolled-down stockings were
associated with dancing and ‘flapper’ style and
were considered risqué.
170 Boom and Bust

t
f

onceepennnereRee
RN

jeadiisttanet
 Boom and Bust 171

Joan Crawford poses

against an Art Deco-
style backdrop in
1929 (right). The
bold make-up and
close-cropped curls
tucked under a
cloche hat (opposite)
were considered
modern, and by now
smoking was
deemed acceptable
for women.
 172 Boom and Bu

s & ee SS te
 Boom and Bust 173

Exotic harem pant pyjamas (above), first introduced to Paris by Poiret (shown here in 1922),
were worn as eveningwear throughout the Twenties. English writer Marguerite Radclyffe Hall
(opposite, standing) whose novel The Well of Loneliness (1928) was banned for its pro-
lesbian stance, poses with Lady Una Trowbridge in 1927. The man’s-style evening jacket is
a precursor of Yves Saint Laurent’s famous Le Smoking.
174 Boom and Bust

Hollywood actress
Gilda Grey
(Marianna
Michalska) wears a
beaded evening
dress with white fox
fur trim, by Lucien
Lelong. Dance
dresses were often
opulently beaded,
embroidered and
fringed. Long ropes
of pearls and
diamante jewellery
were popular
accessories, and
opulent buckles, like
the ones seen on
Grey's shoes, helped
to draw attention to
the legs — the new
erogenous zone.
Gilda Grey is
credited with
inventing the dance
called the Shimmy.
 Boom and Bust 175
Actress Binnie Hale
wears a gold lame
evening dress in the
London show No No
Nanette, 1925.
Lamé was made by
weaving metallic
thread into fabric,
and was popular in
both gold and silver
along with rich
brocades.
176 Boom and Bust

A Baltimore girl
wears her
boyfriend’s
photograph on her
stockings. As
hemlines rose,
attention was
focused on stockings
and shoe fashions.
Ribbed and
patterned stockings
were fashionable,
such as checked
tights for sports, and
stockings were made
out of cotton, wool,
silk or rayon.
Patterned legs would
be popular again,
but not until they
accompanied mini-
skirts in the Sixties.
 Boom and Bust 177
Stockings held up by
decorative metal
garters, to match
gold kid evening
shoes. Band garters
became popular in
addition to
suspender garters,
and young women
and dancing
‘flappers’
scandalised their
elders by rolling
down their stocking
tops so that they
could be seen just
above the knee.
178 Boom and Bust

Out in the country, two women march through a Devon field with their spoils, looking
like naughty
schoolboys (above). Jumpeys that pull over the head were worn for sportswear until Chanel
promoted
them for daywear, and shorts were only worn for sporting events. These girls (opposite)
are borrowing
from the boys; their tweed Norfolk jackets and plus-fours were traditionally worn by
men for sporting
events. Scarves were often worn tied around the head instead of hats, for a leisure
look.
Boom and Bust 179
180 Boom and Bust

Golfing clothes for women in 1921 (above) combine simple linen or jersey skirts, straw
hats and V-neck knitted
jumpers. These easy clothes, flexible enough to allow a decent swing, were made
fashionable by Chanel and
Patou. Winston Churchill (opposite) and his son Randolph share a joke with Coco Chanel
at a meet of the
Mimizan Hunt in 1928; the hounds belonging to the Duke of Westminster, with whom
Chanel was having an
affair at the time. She was renowned for appearing groomed and elegant at all times.
[aa]jo)[e) iS o oS a = n~ a 0
 182 Boom and Bust

Lae m
WS lpasrennc unas
eet asad
5 aemacmnceeny
ai
Sa
SERN:

The Debenham sisters pull up on their motorcycles for a quick

gasper, 1925. The one on the right wears lace-up shoes,
woollen stockings and jodhpurs or breeches, an outfit also
associated with horse and bicycle riding. The striped knits are
modern jumpers, adapted from a man’s wardrobe.
 Boom and Bust 183

A contestant in a 1923 motorcycle race checks her lipstick. By now

it was acceptable for women openly and obviously to wear make-up
and to paint their faces in public. Eyebrows were plucked and made
up to look arched and high, lips were painted red and shaped into a
‘Cupid’s bow’, and cheeks were rouged.
184 Boom and Bust

The American
Amelia Earhart was

J famous for her

flights across the
Atlantic and Pacific
oceans. She
disappeared without
trace in an attempt
to fly around the
world. This picture,
taken in 1928,
shows Earhart
dressed in warm
leather military-style
boots and coat with
a Close-fitting hat,
similar to the cloche
shapes fashionable
at the time.
 Boom and Bust 185

Two women drivers at Brooklands racetrack in Surrey,

1920. Women no longer wore sweeping duster coats
and veils for riding in cars, but instead sported
streamlined coats of a more practical length, loosely
based on the trench coat.
1 86 Boom and Bust
 Boom and Bust 187
(Opposite) Knitted St
Moritz ski fashions,
1924; man's-style
plus-fours and
breeches were
popularised by
women for skiing
during the Twenties.
Jean Patou was
particularly known
for his skiwear but
this two-piece jersey

y'
suit of 1926,
modelled in
Chamonix (right), is
made by Chanel. Ski
pant-style leg
™
warmers hook under
the skates for
additional comfort
and warmth for the
wearer.
188 Boom and Bust
 Boom and Bust 189
The elegant flapping
panel jacket and
matching dress in
grey georgette
(opposite) are by
Lucien Lelong.
Lelong was known
for his luxurious
fabrics and fine
craftsmanship, and
went on to be
president of the
Chambre Syndicale
de la Haute Couture
in 1937, the body
which represents
Paris couturiers. The
grey lace and silk
dress (right) is
reminiscent of a
child’s pinafore dress
from the beginning
of the century.
190 Boom and Bust

This floral print dress

with velvet and
chiffon scarf panels
would have been
worn in the second
half of the Twenties
when hems were
cut to look uneven,
in a move away
from the boyish
silhouette. Although
cloche hats were
more fashionable,
wide hats were ofter
worn for more
formal events.

23

*
:
 Boom and Bust 191

This 1925 floral aE

printed dress by
Blanche Lebouvier,
trimmed with velvet
and chiffon, was cut
in a similar style to
evening dresses of
the time, with a bow
detailing which often
rested on the side of
the hip or at the
front, as shown in
this photograph.
192 Boom and Bust
 Boom and Bust 193

Ever-elegant
Gertrude Lawrence
Wears a dress with a
soft draped neck line
and pointed scarf
hem, typical of the
late Twenties (right).
The romantic,
almost child-like,
dress (opposite) was
worn by actress
June (Lady
Inverclyde) in the
musical comedy
Happy-Go-Lucky.
The nautical white
collars and cuffs and
ribbon detail borrow
from sports and
leisurewear styles,
and scalloped hems
were particularly
fashionable at the
end of the decade.
194 Boom ar
 Boom and Bust 195

Max Factor instructs English film star Dorothy MacKaill in the art of applying her make-up (opposite).
Actress Evelyn Brent is helped by her assistant (above). Max Factor was employed by Hollywood to make
up the stars, and can claim responsibility for dyeing Jean Harlow’s hair blonde in the 1930s. For black
and white films he used black make-up on lips and eyes to create a contrast to the heavy white base. He
later set up his own line of cosmetics, whose name survives to this day.
196 Boom and Bust

Models keep warm in their brightly coloured beach wraps and rubberised
bathing hats in 1928 (above). This picture was not shot on a beach, but on
the roof of an Oxford Street store in London. Plenty of sunshine and fresh air
was considered healthy. These simple beach dresses of 1927 (opposite) are
livened up by bright prints and matching hats.
Boom and Bust 197
198 Boom and Bust

A woman poses in a
brightly embroidered
swimming costume
by Sonia Delaunay.
Delaunay, who was
married to artist
Robert Delaunay,
produced bright
graphic designs,
inspired by Cubist
paintings, for the
textile company
Bianchini-Ferier. In
1925, Delaunay set
up a boutique selling
rugs, screens and
handbags. She
shared the shop
with furrier Jacques
Heim, who was to
Set up his own
couture house
in 1930.
 Boom and Bust 199
Swimming costumes
were made of
Knitted cotton or
wool. In 1920 the
American company
Jantzen designed
elasticised costumes
in rib knits; this
meant that they held
their shape better
when wet. This
piece may well have
been by Jean Patou
or Elsa Schiaparelli,
both of whom
designed costumes
with graphic
patterns.
200 Boom and Bust
 Boom and Bust 201

These American girls cool down and play cards sitting

on blocks of ice on a hot day in August 1929 (left).
The low, sweeping backs and cutaway panels offer
maximum suntan advantages. This style was developed
towards the end of the decade. (Above) A beach
inspector at West Palm Beach measures the bathing
suit to ensure it conforms to regulations.
202 Boom and Bust

te SENNETT Correnes’
 Boom and Bust 203

The Mack Sennett Bathing Belles show off the latest

fashionable bathing costumes, although the fur-
trimmed version would probably not benefit from
exposure to sea water.
204 Boom and Bust

Marcel Grateau, who pioneered the hair wave technique, shows how it is done in 1922. These
painstakingly created waves offered a softer alternative for women used to the more masculine
Twenties crop. The style was to take off during the Thirties, as it complemented the full-length,
feminine dresses and elegant day suits. The Twenties brought with it bold make-up, including
nail varnish, mascara and dark, kohl-lined eyes.
 Boom and Bust 205
Polish-born hair-
dresser Antoine,
seen on the right, is
credited with
creating the
fashionably short
shingle cut. Based
in Paris, he exper-
imented with
coloured wigs and
hair dyes and
created his own
haircare and
cosmetics ranges.
His clients included
Josephine Baker and
Greta Garbo.
 Boom and Bust 207
In the 1920s hair
Was cropped shorter
and shorter in the
shingle cut, short,
sharp bobs and the
Eton crop, the
severest of all. Only
towards the end of
the decade did
softer, longer w
become more
fashionable. Louise
Brooks's bob (right)
was particularly
influential.
(Opposite, from left
to right, top to
bottom) a variety of
styles: Gloria
Swanson — a softer
waved bob; Joan
Crawford — a longer
curled style; Jessie
Matthews — a Louise
Brooks-style bob;
Clara Bow — the
original ‘It girl, a
longer, more
feminine curled
style; Yvonne
Printemps — a softer
waved bob; Pauline
Stark — a boyish
short cut; Constance
Talmadge — Eton
crop meets bob;
Josephine Baker — a
boyish short cut;
Madame Lucien
Lelong — a softer
waved bob.
208 Boom and Bust

known were the

printed silk versions
igner Edward

(opposite) were
popular, with some
of the most luxurious
coming from France
= c oO i= a 2) XNoO D
210 Boom and Bust

This more traditional

nightdress echoes
the V-neck shape of
fashionable dresses
of the time, and is
provocatively tied at
the shoulder with
ribbons
 Boom and Bust 211
The introduction of
yon, a synthetic
alternative to silk,
meant that more
women could afford
this elegant
loungewear pyjama
look. These pyjamas
are made of crepe
satin and trimmed in
lace.
212 Boom and Bust
 Boom and Bust 213

Models display a range of corsets at

Oxford Street's Dorothy Perkins store
in 1925. Whalebone corsets were
long gone for most women, but
elasticised stretch corsets were worn
either over the hips with a silk
camisole top or sometimes over the
full torso. Bras were also worn with
cami-knickers as a more comfortable
alternative.
214 Boom and Bust

This slip (above, left), which was probably made of silk, is

combined with matching long knickers. One-piece camisoles
became popular for the first time in the Twenties; this one
(above, right) was probably in cotton, trimmed with lace and
worn under a waist-slimming corset.
 Boom and Bust 215

This bloomer-style outfit (above, left) from 1928 would

have been a two-piece rather than an all-in-one. This
very luxurious underwear (above, right) is made up of an
accordion-pleated lace under-slip, trimmed with chiffon
and ermine-tailed rosettes.
216 Boom and Bust

Cloche hats would sit smoothly on the head and mimicked the fashionable
boyish hairstyles of the era. Turn-up brims helped to soften the face, as in the
one worn by Greta Garbo (top, left), and more minimal felt styles were trimmed
with felt or silk flowers (top, right) and as worn by Anita Loos (above, right).
Straw cloches were decorated with bands at the end of the decade (above, left).
 Boom and Bust 217

Wide, romantic straw shepherdess-style hats were worn to the

races and at the beach, and trimmed with ribbons or silk flowers,
as worn by actress Virginia Valli (top, left and above, right). Softer
turban-style cloches (above, left) and scarf detailing (top, right)
offered an alternative to minimal helmet styles.
218 Boom and Bust

Lady Edwina
Mountbatten with
her daughter Patricia
wears a boyishly
streamlined skirt anc
matching top for a
1928 wedding. This
is an excellent
example of the
simpler lines of the
late 1920s, and the
outfit is probably
made of jersey. She
carries a clutch bag.
 Boom and Bust 219

Ignoring the entreaties of a beggar woman at Ascot, two

elegant racegoers continue on their way, 1923. Scarves
decorate the dress of the woman in white and her
companion demonstrates the fashion for bold tribal patterns,
as seen on her skirt and sleeve.
220 Boom and Bust

A 1927 wedding joins members of the French and Italian royal families. The
bride's simple wedding dress is short and cut on the hip, following the style
of the day. A long train with scalloped or pearl-trimmed edges is typical of
1927 bridalwear, and the veil may have been pinned to the hair under wax
flowers. Dresses were often pale pink or cream.
 Boom and Bust 221
Clarissa Churchill
marries the future
British Prime
Minister Sir Anthony
Eden in 1921. Head
dresses were wired
shape. Satin shoes
and pear! detailing
usually completed a
bride's outfit.
222 Boom and Bust

A movie star marriage: Norma Shearer marries

Irving Thalberg (they are fifth and sixth from
the left), the associate executive of her studio,
in October 1927. She has chosen romantic
picture dresses with skirts of frothy tulle for her
wedding. The uneven hem reflects the daywear
trend of the late Twenties. Shearer was
renowned for her smooth bias-cut dresses and
sporty tennis whites.
Boom and Bust 223
224 Boom and Bust

Laurence Olivier, Adrianne Allen, Noél Coward and

Gertrude Lawrence in a scene from Coward's play
Private Lives, September 1930. Critics and theatregoers
were shocked by Coward's and Lawrence's animated
portrayal of a rowing couple who physically fought on
stage. Lawrence was renowned for her trouser suits in
this production designed by Edward Molyneux.
Boom and Bust 225
226 Boom and Bust

It may look as if she has just rolled up in her favourite carpet (above, left), but actually it is Greta Garbo in
a white fur
wrap, designed in New York for a night out at the theatre. Society girl Madame Lucien Lelong (née
Princess Nathalie
Paley), wife of the couturier (above, right) dresses for the evening. Her satin-lined wrap covers a
longer line, more
feminine, fitted dress, an example of the changing silhouette in the run-up to the Thirties.
 Boom and Bust 227

Monkey fur trims on jackets and fox stoles, complete with head and tail, were popular for formal occasions and
used to soften the edges of clothing. This theatre coat of 1925 by the House of Redfern (above, left) is trimmed
with wolf fur. Unstructured wrap coats provided warmth for evening when worn over slip-like, beaded dance
dresses. This one (above, right) is in fashionable black.
 Boom and Bust 229

A black dress with swinging arm tassels by Paul Poiret (opposite). Poiret never regained his position in the fashion
industry after he closed his house during the First World War. At the end of the Twenties he was declared
bankrupt. Adele Astaire, dancer, actress and sister of Fred (above, left) wears a sleek ‘little black dress’, 1928.
Josephine Baker (above, right) who shot to fame as a dancer and singer of /e jazz hot in the Twenties, is dressed
in a more theatrical little black dress. The fitted style suggests the picture was taken at the end of the decade.
230 Boom and Bust

Silent screen film

siren Clara Bow, the
‘It’ girl, wears a long
bias-cut silver lamé
evening dress for her
role in No Limit in
1931 (left). Lamé
was a popular,
glamorous choice for
the evening and for
film costumes. Noél
Coward and
Gertrude Lawrence
in a scene from
Coward's play,
Private Lives, shown
in London,
September 1930
(opposite). Lawrence
is remembered for
the glamorous,
white, bias-cut dress
she wears here,
designed by Edward
Molyneux.
Boom and Bust 231
4 The Glamour Years
1930-1938

Joan Crawford, MGM film star, emerges from her dressing

room looking chic in shades and slacks. Major film stars
were required to look groomed and to live up to the
Hollywood dream both on and off screen. Fashionably full-
painted lips became known as a Joan Crawford mouth’.
 Se Ae AE
mem!==
4 The Glamour Years
1930-1938

Following the Wall Street Crash of 1929, unemployment soared and poverty spread. Many womer
retreated into the fairy-tale world of Fred Astaire and Ginger Rogers. The cheeky adolescent in he:
‘flapper’ dress of the Twenties had matured into a sophisticated woman who yearned to emulate th:
silk-swathed stars of the silver screen.
Around the world, millions flocked to the talkies to see and (for the first time) to hear their idols.
stars such as Marlene Dietrich, Joan Crawford, Greta Garbo and Jean Harlow. They became icons.
idealised goddesses and arbiters of style. Image was all. In Hollywood, film studios hired costume.
designers to dress their stars both on and off screen: at Paramount Pictures, Travis Banton designed
for Marlene Dietrich; Gilbert Adrian dressed Greta Garbo at MGM. Edith Head put Dorothy Lamour
in a sarong and set a trend. Movie fans could dash from picture house to department store, where
entire areas might be dedicated to selling copycat Hollywood looks. A host of would-be Leth
Lyntons, Scarlett O'Haras and Mata Haris were soon parading their new styles on the street.
To carry off the Thirties style, women needed a movie star figure. The new bias-cut evening
gowns, with their sinuous columns of flimsy fabric, revealed every bulge. The ideal figure was lithe,
toned and streamlined, with thin hips, a defined waist and broad shoulders. Brassiéres were
used
not to flatten the bust but to lift and separate, and women wore bi-stretch Latex girdles to
iron out
any lumps and bumps. Vogue magazine commented on these long-line dresses in 1934: ‘You'll
look
as thin as a reed and taller than ever, because of the long slip with its sudden flowering
at the hem.’
Diamante clips and gold chokers glistened beside chiffon-topped black velvets, slippery
white silk-
satins, and gold lamé.
Thirties woman was spoilt for choice when it came to dressing. For daywear she
might choose a
 slim-cut dress with wide shoulders and a belted waist, or perhaps a sharp, tailored suit which
reached below the knee. Eveningweafell
r into two main categories: the first was a classically draped,
bias-cut style, perfected by Madeleine Vionnet. She was lauded for her halter neck gowns and simple
wrap coats. The second harked back a generation to the prosperous Belle Epoque, with fitted
bodices, bustle-style bows and sweeping skirts. In 1933 shoulders grew wide and exploded into leg-
of-mutton and butterfly sleeves a year later. But a sleek, tailored evening suit in black was the really

modern choice. ‘Nothing in fashion is newer’, said Vogue in 1935.

The very extravagant wore fur greatcoats that shadowed the long evening dresses. For everyone
else, fur trims and wraps of all kinds were de rigueur. In a move inconceivable today, Vogue printed
a Chart of animal sketches to aid the shopper’s choice of pelt. Squirrel or muskrat? Silver fox or
Hudson seal?
As the decade passed, beach holidays and sunbathing became more fashionable. Holidaymakers
donned sailor-style tops, shorts and thin floral dresses, and emulated Dietrich with matching mother-
and-daughter swimwear.
Maverick designer Elsa Schiaparelli switched from philosophy to fashion design and brought a
quirky edge to Parisian glamour. Following in Poiret’s footsteps, her collaborations with avant-garde
artists like Jean Cocteau and Salvador Dali created tall hats shaped like shoes and dresses with
trompe Ioeil prints mimicking torn fabric. She built practical uplift brassiéres into dress bodices and
exposed traditionally hidden zips as detailing. A
But the clock was soon to strike twelve for a generation of Cinderellas dreaming of Hollywood.
Hitler, Franco and Mussolini were busy carving up Europe. Very soon women would have to tighten
their belts.
te) ,3)
6 The Glamour Years

Wallis Simpson
poses for the camera
in 1936, before the
abdication of King
Edward VIII. Her day
dress, probably
made out of bias-cut
silk, was designed to
cling to the
silhouette. Bold flor
prints were
fashionable during
the Thirties. Mrs
Simpson's favourite
designer was the
American
Mainbocher. Her
make-up and glossy
waved hair are
stylishly perfect, in
the manner of a
Hollywood film star
 The Glamour Years 237
The Duchess of Kent
with Prince Edward
and Princess
Alexandra leave for a
holiday in 1937
The Duchess’s
spotted day dress
sets off her two-
tone, peep-toe
shoes; these
originated as beach
shoes and became
particularly popular
in the 1930s. The
Duchess carries a
neat clutch bag.
238 The Glamour Years

An American couple
pose at the Sands
Point Horse Show ir
1935 (left). The
woman wears a
simple day dress,
which is belted to
emphasise her
waist. Hats were stil
worn outside the
house, and hers has
a fashionable
Slanted brim.
(Opposite) The Duke
and Duchess of
Windsor at their
house on the Frenc
Riviera in 1939.
The Duchess's dres
has the wide,
voluminous sleeves
that became
fashionable during
the late Thirties. The
wide-shouldered,
thin-hipped
silhouette was the
ideal for which
women in the
Thirties strived.
 240 The Glamour Years

een
p
ee
US
+

Female members of the Italian Fascist organisation (above)

march in Tripoli,
Libya, 1935. This picture shows the streamlined skirt shape,
popular for
daywear, with a slight pleat for easier movement. ‘Blackshirts’
(right) from Sir
Oswald Mosley’s British Union of Fascists, parade in Liverpool.
Berets had
become fashionable for daywear as well as for uniform.
 The Glamour Years 241

Naiae
=
242 The Glamour Years

Swedish actress
Greta Garbo, who
was famous for films
such Queen
Christina and
Ninotchka with
costumes designed
by Adrian. Her
hairstyle and her
hats were widely
copied. Here she
wears a double-
breasted wrap coat
with a matching
scarf collar.
 The Glamour Years 243
Film star Marlene
Dietrich and her
husband Rudy
Sieber walking in
the streets of Parisi
1938. Dietrich was
known for her
mannish skirt suits
with wide shoulders
designed by Travis
Banton, a style that
would come back
into fashion in the
Eighties. Her look
was notably urbane
and sophisticated,
and she often used
furs as accessories.
244 The Glamour Years

Arch rivals ‘Coco’

Chanel (left) and her
fellow designer Elsa
Schiaparelli
(opposite). The
Thirties were Coco's
heyday. She wears a
Chanel suit (of
course) but the lines
are now sleeker, in
the Thirties style.
Schiaparelli, in her
astrakhan-trimmed
suit, was known for
her sense of humou
and the Surrealist
references in her
clothing. She helpec
to make the wide,
shaped sleeve
fashionable, and
made eveningwear
in tweed and
pleated fabric to
resemble bark.
The Glamour Years 245
246 The Glamour Yea

Mannishly wide
shoulders were
popular, especially
on jackets. This one
is in white
gabardine
Underneath she
wears a brown linen
shirt, with matching
hat. During the
Thirties, brow
became an
alternative basic
dress colour to
black.
 The Glamour Years 247
English aviator Amy
Johnson wears a
woollen suit
designed by Elsa
Schiaparelli in
1936. The designer
made her a
complete collection
of flying clothes. The
newsprint scarf tied
around her neck is a
good example of
Schiaparelli’s quirky
style; she also made
matching newsprint
bags and used fabric
printed with music
scores.
248 The Glamour Years

Marlene Dietrich
shocked the more
conservative with
her mannish trouser
suits and masculine
hats worn on the
side of the head, but
the style quickly took
off and copies soon
 The Glamour Years 249
A model poses in a
Dietrich-style suit by
Nicholl’s in 1933,
on a Regent Street
roof in London.
Dietrich was
regarded as a style
icon, and her on
and off-screen
clothes and image
spawned a host of
lookalikes. Even if
women did not dare
wear a wide-
shouldered trouser
suit, her hats, hair
and make-up were
noted and copied.
250 The Glamour Years

Elsa Schiaparelli
brings culottes to
London's Hyde Park
in 1931 (left). This
was the year she
helped make beach
overalls and jackets
with broad shoulders
fashionable.
Schiaparelli had shot
to fame when one of
her first pieces, a
black jumper with a
trompe /'oeil bow,
was spotted in a
shop window by a
department store
buyer. Her
companion wears
fashionable gauntlet
style gloves. Culottes
which could button
back into a skirt
were the practical
choice for bicycling
(opposite), and
divided skirts were
also worn for tennis
in the same period.
 The Glamour Years 251

tnt i
i Omg,
252 The Glamour Years

Designers and the

press bombarded
women with clothing
for The Season.
These 1933 Ascot
dresses are made by
Dudeney. While the
organdie dress on
the left has
matching gauntlet
gloves in the same
fabric, the one on
the right has large,
puffed sleeves, a
style that became
fashionable towards
the end of the
decade.
 The Glamour Years 253
This Victor Stiebel
dress of 1934
demonstrates the
fascination with
Victoriana, with its
sweeping skirt
clinging to the hips
and then flaring
outwards, the large
bustle-style bow and
the wide hat.

yi
1
{
254 The Glamour Years

These long, romantic dresses could not be more different from the chemise dresses of the
Twenties, but have evolved from the robes de style. They were worn for The Season. Delicate
cotton became fashionable for dresses in America, and this wide-shouldered dress
(above, left) is set off by gossamer-thin gloves. The lace dress worn with a decorative parasol
(above, right) is in the Belle Epoque revival style with all its fuss and frills.
 The Glamour Years 255

Even if your dress did not have wide, romantic shoulders,

you could fake it by covering the shoulders with a short
bolero (above, left). More lace-frilled skirts and a two-
tiered cape (above, right) borrow from the styles of the
early 1900s.
256 The Glamour Years
 The Glamour Years 257

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cee
ie
gy

High-society fashion models, probably in

America, show off their elegant little black
dresses to wonderful effect. The white
collars and cuffs and simple pearls or paste
Jewellery are inspired by Chanel.
258 The Glamour Years

Wide-shouldered coats were worn to emphasise the shoulder

line and the sleek lines of the dress underneath (above, left).
An ermine fur coat designed by Max (above, right) would
have been worn for the evening. The smartest were tailored
and fell to the ground with uneven hems.
 The Glamour Years 259

The collars of this tailored coat by Schiaparelli are held together with a large
button (above, left). Schiaparelli often used novelty buttons in the shape of
swinging acrobats, beetles and womens faces. This 1934 double-breasted
coat (above, right) is by the house of Jaeger; coats were often firmly
wrapped and belted, contrasting with the flowing capes and evening wraps.
260 The Glamour Years

This neatly cut day

dress of 1935, with
its pencil skirt and
pleated front, needs
the large white bow
to add a touch of
Thirties glamour.
Daywear was much
less elaborate than
the full-length
dresses worn for
evening, but it still
required a neat
figure as dresses
and suits clung to
the hips and waist.
 The Glamour Years 261
Tailored suits were
streamlined and
practical for day.
This one of 1935 is
in chestnut and
beige, in line with
1930s trend for
brown as an
alternative to black
or grey. The
extended lapels on
the jacket
emphasise the
fashionably wide
shoulders of the
jacket.
262 The Glamour Years
 he Glamour Years 2
(Opposite) These
European jumpers
with their graphic
patterns would have
been worn for casual
daywear or
resortwear, and are
much more fitted
than the loose jersey
versions of the
Twenties. Twinsets
were popular and
knitted cardigans
were worn on top of
day dresses. This
jumper by Bruno
Netti (right) has
sharp shoulders,
following the
tailoring trends of
the day.
264 The Glamour Years

Low-backed, white
evening dresses
were used to show
off a deep tan. Film
star Adrienne Ames
(left) wears a dress
with a classically
draped back, which
could possibly have
been designed by
Madeleine Vionnet
or Alix Barton (later
known as Madame
Gres). Almost sci-fi-
style wide sleeves
made the column
dresses worn for
evening look
slimmer and longer.
This white jacket
(opposite) by
German designer
Joe Strassner has
pleated cap sleeves.
Make-up, such as
false eyelashes and
lipstick, was worn
boldly and eyebrows
were plucked to
oblivion.
The Glamour Years 265
266 The Glamour Years

Sleek, bias-cut dresses were worn for evening and formal occasions, and
showed every curve, so girdles were used to slim down the hips. A model
poses in a dress by Victor Stiebel (above, left), Hollywood actress Myrna
Loy (above, centre) shows off the new erogenous zone, the back, and
actress Gina Malo (above, right) wears a bejewelled Empire line gown.
 The Glamour Years 267

Fashion editor-turned designer Mainbocher’s black evening dress (above, left) sets off a
diamante feather at the waist. Velvet was still popular for evening and Chanel designed
wide-shouldered evening suits in black velvet. This dress (above, centre) is by Robert
Piguet who was known for his easy tailored dresses. Black satin trimmed with silver
fox was used for this Mainbocher dress with its matching cape (above, right).
268 The Glamour Years

Judging by the suntans on show, this could be St

Tropez, but it is not. It is Margate, on the Kent coast,
where girls in a beach pyjama parade are disporting
themselves in 1932 (right). Halter neck tops and
low-backed swimming costumes were popular
because of their tanning potential. The wrap
‘modesty’ skirts had been removed from bathing
costumes, which now offered a sleeker silhouette for
the beach. (Above) The sarong, too, became popular,
thanks to Edith Head's designs for Dorothy Lamour
in the film The Jungle Princess, 1936.
= oSoO (o)Ss =
270 The Glamour Years

Actress Diana
Wynyard in 1932.
Trousers were worn
as leisurewear, and
they were almost
always cut wide,
revealing much less
of the figure than the
streamlined skirts
and dresses of the
era. Linen trousers
were cut in a
mannish style, with
sharp pleats running
down the front.
These would have
probably been worn
for relaxed evenings
on holiday
or on the beach.
 The Glamour Years 271
Although it is a little
hard to believe, the
relaxed Prince of
Wales check woollen
slacks and sharply
tailored blue tweed
jacket in this
photograph were
designed by Jacques
Heim as beachwear.
Heim had opened
his own couture
house in 1930 and
produced beachwear
and ranges
specifically dedicated
to a younger market.
Draped bathing
costumes, and even
the bikini, were
introduced by Heim.
272 The Glamour Years

Trousers were now deemed acceptable for beach and leisurewear and
even for eveningwear. This outfit (above, left) is described as a ‘summer
play suit’ and is probably an all-in-one suit. White was a popular colour,
particularly to show off a suntan, and actress Gertrude Lawrence
(above, right) makes full use of the effect in Monte Carlo.
 The Glamour Years 273

Eleanor Stewart (above, left), winner of the MGM Voice and Talent
Competition, wears matching sporty trousers and shirt, which could pass for
daywear in the 1990s. Wide, sailor-style yachting pants, such as these worn
by actress Joan Valerie (above, right), were made popular by Chanel.
Underneath her cropped top she wears a halter neck top with ties at the waist.
Visitors dressed for the beach, with heavy suntans, admire the view of
Monte Carlo, August 1934. At that time the Riviera was a popular
destination for society's elite, and was still relatively unspoilt
The Glamour Years 275
 The Glamour Years 277

Getting away from it all. One way

to escape all the glamour and
guarantee fresh air and a suntan
was to go hiking, a pastime that
became very popular in the
Thirties. Leisurewear styles were
similar to beachwear and
resortwear.
278 The Glamour Years

Some beach pyjamas were bright and often over the top, as in
these versions (above), which even had matching hats. These girls
(right) have decided to play bowls in their pyjamas, which are cut
almost as wide as the Oxford bags worn by men in the 1920s.
They differ from yachting pants in that they do not have sharp
creases on the trouser legs.
The Glamour Years 279
280 The Glamour Years

Campers at Upshine, near Epping, on the outskirts of London, enjoy the summer
sun. They wear practical beach-style skirts with deep splits and side-button
fastenings over swimming costumes.
 The Glamour Years 281

Picnicking girls near Richmond, on the River Thames near London, feel no need
to cover their bodies from the sun. Their shorts and halter neck tops reveal a
large expanse of flesh for maximum browning.
282 The Glamour Years
 The Glamour Years 283

Marlene Dietrich (above and opposite, right) shows off clothing by Travis Banton, costume
designer for Paramount Studios. Dietrich looks every inch the star with her high, pencilled
eyebrows and smooth figure. Plastic surgery, enormous wardrobe budgets and lavish make-up
ensured that films gave their audiences stars and fashions to aspire to. The most glamorous furs
were tailored into jackets and coats (opposite, left) as in this gown from the film Angel (1937).
284 The Glamour Years

Fred Astaire and

Ginger Rogers dance
the night away in
Swing Time in
1936. Rogers’ dress,
designed by Bernard
Newman, is detailed
with a row of tiny
buttons down the
front and a small
sash, which makes
references to turn-of-
the-century dress.
 The Glamour Years 285

Fred and Ginger in Roberta (1935), wearing costumes designed by

Bernard Newman. The sleek, bias-cut dress is cut with a wider skirt
for dancing, but more streamlined versions of this were typical
eveningwear of the mid-Thirties. The dress serves as an effective
backdrop for Ginger’s diamanté jewellery.
 The Glamour Years 287
Greta Garbo helped
to revitalise the
fashion for trench
coats, and
waterproofs were
available from
Barbour,
Aquascutum and
Burberry, just as the
one shown (right).
Made in beige
gabardine, they
often had matching
waterproof hats.
Paul Lukas and
Rosalind Russell star
in the detective film
The Casino Murder
Case (1935
(opposite), but it
was Humphrey
Bogart in the 1940s
who is best
remembered for
gangsters, detectives
and trench coat
fashion.
288 The Glamour Years
Tailored suits were
an important part of
a woman’s wardrobe
in the 1930s. They
now reached below
the knee and were
fitted so that they
emphasised the
waistline. Here
Carole Lombard, a
leading lady with
Paramount Studios
in Hollywood, poses
in a suit topped with
a fur bolero jacket.
 The Glamour Years 289
Actress Bette Davis
eaves a costume
fitting for Front Page
Women (1935).
Tailored suits for the
day were popular in
wool and tweed.
This suit is
accessorised with a
cheeky beret worn
on the side of the
head, a fashionable
Style of the day.
290 The Glamour Years

it
3\

The white dress designed by Adrian and worn by Joan

Crawford in the 1932 film Letty Lynton (left) had an
enormous influence on fashion. Manufacturers copied it
and women flocked to department stores to buy ‘the
Letty Lynton dress’. The dress also helped to kick-start
the trend for wide shoulders. A woman wears a similar
version in a heatwave on the promenade at Blackpool
(above), and Joan Crawford (opposite) wears a softer
version of the dress. The pom-pom frills of the sleeves
have calmed down and now form a neat bolero shape.
The Glamour Years 291
292 The Glamour Years

Jean Harlow, in a
scene from
Reckless, wears a
dress designed by
Hollywood costumier
Adrian. The film was
made in 1935, but
the minimal modern
dress could easily
belong to a woman
in the mid-Nineties
Chanel had made
black dresses
fashionable, and
throughout the
century simple black
styles have had a
timeless appeal. In
this era women still
wore black dresses
to show off their
jewellery. Costume
jewellery was widely
worn, particularly Art
Deco-style pieces in
red, green and black
paste.
 25
Oe
J br The Glamour Years 293

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designed by Adrian.
It demonstrates the
fashion for classical
drapery with its
bias cutting, draping
and wrap details.
294 The Glamour Years

Softly draped
bodices were used
to frame the face
and echo the soft
waves of the hair.
Push-up bras held
the bust in place,
and the bias-cutting
emphasised rather
than hid the bust-
line (left). (Opposite)
Constance Bennett
and Clark Gable
drink in After Office
Hours in 1934. The
smooth Empire line
of her dress is
emphasised by the
fluid butterfly sleeves
that form a wide
curved line over the
shoulders.
The Glamour Years 295
296 The Glamour Years

Draped neck lines

and halter neck
backs softened
beachwear styles
and moved them on
for evening. Here
Anna Sten, a
Russian-born
Hollywood actress,
poses in a black
dress topped with
what is probably
silver or gold lamé,
which was popular
for evening (along
with silk, satin,
chiffon, moiré and
organie).
 The Glamour Years 297
Actress Claudette
Colbert, styled by
Travis Banton, goes
for a simpler draped-
neck version in
chaste whit
Evening dresses
were worn long an
sweeping to the
floor. Pearls were
now more
commonly worn
around the wrist
rather than the neck.
298 The Glamour Years

Joan Crawford in
No More Ladies
(1935) is dressed in
a signature sleek
and timeless dress
by Adrian. The halter
neck style was now
important for
eveningwear, and
designer Madeleine
Vionnet promoted
the look. In the
Thirties, costume
jewellery was worn
big and bold in the
evening, in contrast
with the demure,
tailored looks and
simple dresses
for day.
 The Glamour Years 299
Tailored suits were
often cut sharp with
exaggerated
shoulders, and
executed in tweed or
wool. Designers
known for their
tailoring include
American-based
Hattie Carnegie, Irish
designer Digby
Morton and Paris-
based designer
Cristobal Balenciaga.
Joan Crawford
(right) in 1936 is
wearing a belted suit
with an exaggerated
collar to emphasise
the fashionable wide
shoulders. Her off-
screen wardrobe
was designed
by Hollywood
costumier Adrian.
300 The Glamour Years

Joan Crawford poses

in a sumptuous fur-
trimmed dress
Diamante clips were
widely used to
orate simple
black dresses, but
here Crawfords
glittering feathers are
actually embroidered
on the garment, and
detailed with a
hanging brooch.
 The Glamour Years 301
Joan Crawford uses
a different device to
draw attention to the
shoulders here, a
Short bolero ending
in a wide bow. Bows
were used on the
backs and sides o
dresses, and her
waist is emphasised
here with a large
buckle. Sashes and
belts with square
buckles were
popular waistline
detailing for
daywear.
302 The Glamour Years

Paul Sinclaire and

his daughter relax in
easy leisurewear at
Easthampton, on
Long Island. Her
button-front pinafore
dress is similar to
Claire McCardell’s
dresses of the
1940s. The wide,
capped sleeves were
also translated into
evening shapes at
the time. The
American market
was already leading
in mass-produced,
ready-to-wear
clothing.

seks ange
 The Glamour Years 303
Americans Mr and Bin,
Mrs Jerome
Napoleon Bonaparte
show off their pooch
at a Rhode Island
dog show in 1934,
Her smooth skirt
may. have been cut
on the bias in silk,
and elegantly clings
to her figure; the
outfit shows how the
original shirtwaister
and skirt from the
beginning of the
century have
evolved. Her
gauntlet gloves and
two-tone shoes were
at the height of
fashion during the
Thirties, and an Art
Deco-style black and
diamanté brooch sits
at her throat.
304 The Glamour Years

The Duchess of Windsor in striped sequins stands on the right in the photograph.
Shoulder pads were fashionable; here the shoulders are restrained with a subtle leg-of-
mutton bulge where the sleeve meets the bodice on this sharp jacket. It probably covered
a long dress. The Duchess was very much a style icon and her clothing was followed
with interest. She wears a bracelet over her gloves, a style introduced by Chanel.
 The Glamour Years 305

A woman dressed up in her evening clothes for a first night at the theatre
in 1931. Her hair is trapped under a band in the style of the 1920s, but
the draped silk or satin of her dress, topped with fur, are very much in a
Thirties style. Evening bags were often ornate at this time, with sequinned
purses and clutch bags in decorative leathers.
306 The Glamour Years
 The Glamour Years 307
Lord and Lady
Dufferin of Ava and
Lady Rosslyn walk
to the State Opening
of Parliament in
London in 1938
(opposite). The
women wear sleek
bias-cut dresses and
fur boleros, a style
also worn for
eveningwear. (Right)
Mrs Meade and Mrs
McClure wait for the
train to take them to
Ascot races.
American designer
Mainbocher offered
some particularly
Stylish printed
dresses, such as the
one worn on the
right.
308 The Glamour Years

A woman tries to
pick up a nutria by
its tail at the fur-
bearing animals
exhibition in London.
Furs were worn for
evening and day;
particularly popular
were foxes with
head, paws and tails
all intact. Long-
haired furs were
preferred over
short pelts.
 The Glamour Years 309

Eccentric Phyllis Gordon takes her four-year-old pet cheetah from Kenya on a shopping
spree in London in 1939. The animal seems less interested in 1930s retail therapy than
its mistress. She wears a whole animal skin thrown over her shoulders, for at the time
such a thing was regarded as a status symbol. For evening, furs were needed for warmth,
especially if all that was fashionably permitted underneath was a long tube of silk.
310 The Glamour Years

The wedding of Laurence Olivier and Jill Esmond Moore, Olivier's first wife, in 1930,
Her romantic dress with its neat, circular neckline is elegant and simple compared
with the fussy Victorian-style dress of the woman on the left.
 The Glamour Years 311
The Duke of
Windsor marries
Mrs Simpson in
1937. Her blue
crepe wedding dress
and trousseau were
made by
Mainbocher, who,
after working as
editor-in-chief at
French Vogue, went
on to open a
successful couture
house in Paris. The
elegant cut of her
jacket with its
ruched panel,
ending on an
Empire line seam,
was mimicked for
the daywear of the
late Thirties. Her
headdress would
have been wired to
stay up, and is
reminiscent of the
Twenties bridal
fashions.
312 The Glamour Years

Crisis at the wedding of Lady Honor Guinness in 1933 as her veil is caught by
the wind. This sleek, bias-cut dress with its draped neck line is similar to the
eveningwear styles of the time.
 The Glamour Years 313
The wedding of
British film star
Marjorie Hume takes
place in the same
year, and she wears
a dress with a
similarly draped
neck line. Her dress
is plain, but detailing
at the time included
pearl-studded
skullcaps, silk
flowers worn in the
hair, pearl-edged
bodices and neck
lines with wreaths of
cut-out leather
leaves.
314 The Glamour Years

This woman waiting

for the Ascot train at
Waterloo Station in
1936 is wearing a
jacket with the wide,
soft leg-of-mutton
sleeves that came
into fashion, and
were particularly
used on evening-
wear and formal-
wear pieces.
 The Glamour Years 315

The frothy frills of these racegoers contrast with the sleek

lines of a bias-cut dress. Large necklaces or neckpieces
were worn and gilded leaves were particularly popular for
the evening. There was a move away from the ropes of
swinging pearls and beads of the Twenties.
316 The Glamour Years

The bias-cut skirts of the Thirties were designed to flatter the figure, and the designer Edward
Molyneux was
particularly popular for his clean, smooth lines and simple, elegant pieces. Queen
Elizabeth (above) in 1937
wears a long, flattering skirt. (Opposite) Marina, Duchess of Kent (on the right), Wears
an equally elegant
streamlined suit with a casual over-jacket, possibly made of crepe. A top-heavy fur
wrap or wide hat emphasised
the slimness of the skirt and hips. The Princesses Elizabeth and Margaret, in
matching outfits, need attention.
 SE
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ae

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ome!
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ae ar,
The Glamour Years 317
318 The Glamour Years

Greta Garbo (opposite) was the

Hollywood star who had the
biggest influence on hat trends.
She started a trend for berets by
wearing them in The Kiss
(1929), she wore jewelled
skullcaps in Mata Hari (1931)
(bottom, left) and pill boxes in
The Painted Veil. Schiaparelli
designed tall hats, inspired by a
surrealist shoe placed on the
head (centre, left) and the
Marina hat was named after the
Duchess of Kent (centre, right).
Hats that came down over one
eye were fashionable. Joan
Crawford wears one in Letty
Lynton (1932) (bottom, right)
and Norma Shearer wears a
similar style (top, right). Marlene
Dietrich helped to pioneer a
man’s-style hat. A similar version
is seen here worn by Joan
Crawford (top, left).
The Glamour Years 319
320 The Glamour Years

Shorts were now

beachwear
essentials and were
usually worn with
short, white ankle
socks, as shown by
actress Carole
Lombard (left);
Lombard was
renowned for her
coarse language and
for throwing lavish
parties. Nautical
themes were also
popular and can be
seen on the sailor-
front detailing of
Lombard’s shorts,
and on the striped
nautical-style top
(right). The house of
«
=
a
Worth, which was
still going, designed
nautical resortwear -

with striped tops,

berets and blazers.

-A>

tat
The Glamour Years 321
322 The Glamour Years

Sunglasses, particularly those with white or tortoiseshell rims,

were the fashionable new accessories for the beach. Model
Marcella Flood wears hers on Long Island in 1937. Other
accessories include rubber beach hats and pointed, flat, rubber
beach shoes and wide sun hats with waved brims.
 The Glamour Years 323
On the beach these
girls show the new
androgynous style of
bathing costume.
The skirt has been
removed, leaving a
smooth and simple
line. Stretch-rayon
and cotton were
used for costumes,
and bright colours
such as red, yellow
and green were
fashionable.
324 The Glamour Years

Members of the Hitler Youth get their dose of fresh air in 1938. Group
exercise in the open air was very much a fad of the era, Health and
sport had become an integral part of fashionable life. The exerciser
had the added bonus of getting a suntan and losing a few pounds so
as to be able to get into that bias-cut dress.
 The Glamour Years 325

Dancer and ‘physical culture’ expert

Rosemary Andrée tests a new type of
exercising apparatus in 1935. Foam baths,
which were said to induce weight loss, and
electric treatments were also used.
 The Glamour Years

Picnickers in a London park wear revealing swimming costumes with

cut-out holes for getting a tan, although the result must have been two
unsightly brown sS, Costumes were now elasticised and could hold
their shape when wet, allowing women to look elegant when emerging
from the water after a swim.
 The Glamour Years 327

Swimming costumes with removable straps for sunbathing were a popular

alternative to halter neck costumes. Fashionable evening dresses often
sported low-cut backs, and these demanded smooth skin and an even tan.
Sporty belts were used as detailing on swimming costumes, often with
circular buckles, and coloured rubber shoes were worn for the beach.
328 The Glamour Years

Mae West was

known for her
curves and
influenced the shape
of Elsa Schiaparelli’s
perfume bottle. She
was also arrested on
obscenity charges
when she appeared
in her play Sex.
Ostrich feathers were
used by Hollywood
to trim luxurious
glamour gowns,
such as this one.
 The Glamour Years 329

Film star Carole Lombard relaxes at home. The wide, kimono-style sleeves of
her dress were part of a trend for Eastern drapery, pioneered. by designer
Madame Gres, who borrowed references from the wrapped and draped Indian
dhotis and saris. Other designers used bamboo buttons, mandarin collars and
Japanese-style obi sashes as detailing.
330 The Glamour Years
 The Glamour Years 331
Glamorous bedroom-
wear, such as wraps
and long, bias-cut
dresses, fulfilled the
role of the tea-gown.
Today many of these
pieces appear to be
no different from
eveningwear.
Tallulah Bankhead
(opposite, above) is
photographed in the
London stage play
Let Us Be Gay
(1930), Vivien Leigh
lounges at home
(opposite, bellow)
and Jean Harlow
goes for full glamour
in a white
sequinned negligée
(right) in Dinner at
Eight (1933),
designed by Adrian.
332 The Glamour Years

Janet Allen, a professional dancing partner at Streatham Dance Hall in south

London, has breakfast in bed in a stylish dressing gown, full make-up and nail
varnish. False nails and a fully lipsticked mouth were trends of the era.
 The Glamour Years 333
These ‘Cosy-leg’ eT ” ae
pyjamas ‘that won't :
ride up’ were from
1936, and were
probably designed
for wearing in bed
and as loungewear,
but dresses and
negligées were
preferred at the time.
334 The Glamour Years

This corselet uplifts the bust and smoothes the torso and hips, and the petticoats would
add body to the skirts of a romantic Ascot dress. The photograph was touched up to
make the model look slimmer, which is partly why she looks as if she is floating.
 The Glamour Years 335
Model Jean Seaton
in the latest
underwear, a lace-
edged silk cami-shift
from 1938 that
would have been
worn under a
daywear suit. Pants
or briefs, initially
regarded as
unattractive, were
being worn at the
end of the Thirties.
336 The Glamour Years

Women at work in a corset factory in 1939, fitting the corsets onto dummies.
Women still wore body-controlling underwear, but it had become feather-light
compared to the whalebone stays of thirty years earlier. More feminine underwear
included silk cami-knickers, ruched tops and light slips inserted with lace or
embroidered with flowers. Push-up bras helped to emphasise the bust.
 The Glamour Years 337
In 1938 a woman
reveals how she
manages to look so
Sleek in a long, bias-
cut dress. Her all-in-
one stretch corselet
was designed to
hold in the hips and
waist, and would
have been made out
of elasticised cotton-
satin. Flesh-coloured
silk stockings were
fastened to
suspenders, and
corselets often had
low backs that could
work with evening
Styles.
338 The Glamour Years

Hair fashions were soft and feminine compared with the previous decade. Greta Garbo (top, left) shows the
long, waved romantic style. She was also known for her bobbed hair. Claudette Colbert’s fringe was widely
copied (top, right) and Carole Lombard (bottom, left) shows the highly stylised waves that were so popular.
Revue star Frances Day (bottom, right) shows a more tousled, thicker style. The craze for neo-Victorian styles
brought about a trend for flower-topped chignons and decorated hair combs.
 The Glamour Years 339

Jean Harlow started the craze for peroxide blonde hair when she dyed hers for the
film Hell’s Angels in 1930; she even starred in another film called Platinum Blonde
(1931). Blonde hair helped to set off the fashionable white evening dresses popular
at the time. Harlow’s fans would never see her grow old: she died of kidney failure
aged only twenty-six.
5 Make Do and Mend
1939-1946

e
ae

During the Second World War even stars had to climb down from their pedestals
and muck in with the rest. Here actress Margaret Vyner bundles her hair into a
scarf, ready to do the housework, 1941. At the end of the war Jacqmar
advertised its Victory scarves in Vogue and this scarf is probably printed with
morale-boosting slogans, scattered amongst the V for Victory motifs.
fe) Make Do and Mend
1939-1946

In Britain, as the State took control of the wartime purse strings, rationing enforced an era of
compulsory minimalism. The lavish film star look of the Thirties was now viewed as flashy,
unpatriotic and vulgar. In 1943 Vogue warmed: ‘You'll have fewer clothes because you have not the
time, money or coupons to clutter up your life with non-essentials... You'll have simpler clothes
because in these days anything elaborate looks silly.’ Restriction orders outlawed wasteful cutting and
excess trimmings, rationed limited consumerism and the Utility scheme offered Government
approved clothing at fixed prices. Luxurious fabrics like silk and nylon (introduced in 1938) were —
commandeered for parachutes, golf balls became gas masks and mattresses became life jackets. .
Fabrics such as rayon, viscose and even (illicitly) blackout material were left for making clothes.
On both sides of the Atlantic top designers were called up to do their bit. The British Board of
Trade drafted in a group which included Hardy Amies, Victor Stiebel and Edward Molyneux to design —
a complete civilian ‘Utility’ wardrobe to be mass-produced and bought with clothing coupons. Vogue
backed the move, saying that there was ‘an overwhelming case, in mass production, for starting with
superlative design’. Norman Hartnell made clever, practical uniforms for Girl Guides helping with
post-war relief work. Their grey-green tweed dresses had long sleeves that could be buttoned on and ~
off. Wide ski trousers were tucked into boots and teamed with long-sleeved, tight jumpers. The
Women’s Voluntary Service had Digby Morton to thank for their uniforms and in the United States.
Mainbocher designed elegant clothes for the Women Accepted for Voluntary Emergency Service.
Couturiers were learning how to work with manufacturers, an important development in view of the
ready-to-wear designer boom that was to come after the war.
As the men fought overseas, women rolled up their sleeves and knuckled down to work. The
Land Girls pulled on their corduroy breeches as they dug for victory. Women’s daywear
was sharp
 and to the point, with heavy shoes (often with wooden soles to save on leather), sharp-shouldered
jackets and knee-length skirts. As the war continued, women devised a new mix-and-match formula
to stretch their wardrobes. Suits gave way to contrasting shirts and skirts. British Vogue patriotically
focused on DIY fashion and ‘Make Do and Mend’. It advised sewing different coloured ribbons into
pleats of skirts, embellishing black dresses with paisley pockets and turning maternity capes into
reefer jackets. White collars and cuffs were used to economise on fabric, and berets, hairnets and
turbans replaced hats when straw ran out. Meanwhile, isolated by the German occupation, Paris had
lost its influence. Coco Chanel and Madeleine Vionnet shut up shop; Edward Molyneux, Charles
Creed, Mainbocher and Charles James all fled abroad. Those who remained worked in a bubble,
surviving by producing lavish costumes for the Nazis’ women. But even couturiers had to watch their
step: when Madame Gres draped her models in the patriotic red, white and blue of the French
tricolour the Germans immediately closed her house down.
In America, designers such as Vera Maxwell and Alice Evans were putting women in sporty
leisurewear. Claire McCardell teamed up with manufacturers Townley Frocks to offer simple, ready-
to-wear Separates in jersey, denim, ticking and calico. Her wrap-style dresses, jersey bodysuits and
fabric-covered ballet-style shoes appealed to women because they were simple but well designed.
By 1944 American styles included the jumper dress, this time round with sharp shoulders, wide-
shouldered pinafores and shoulder bags like drawstring rucksacks. More glamorous were
voluminous evening gowns and sci-fi-look padded white satin jackets by Charles James. On a visit
to New York in 1945 the photographer Cecil Beaton was stunned by the ‘wonderful young women
with their towering Marie Antoinette hair-do’s... It was as if the war had never happened.’
The war in Europe finally over, Paris needed to prove that it was still leader of the pack. Facing
severe fabric shortages, necessity nonetheless proved the mother of invention. Ingeniously, 237 wire
mannequins wearing scaled-down versions of the couture collections were exhibited in miniature
stage sets at the Louvre. Each mannequin was just 70 centimetres high and fully dressed in couture
clothing, from underwearto accessories. The 7héatre de la Mode toured the world, putting Paris back
on the map. And couture was back in business with a new designer up its sleeve.
344 Make Do and Mend

In 1940s London
this chic woman
uses flowers and
ribbon detailing on
her pockets to jazz
up her sharp jacket,
which she may have
customised herself.
Until now the skirt
and jacket of a suit
had usually been
made to match.
During the war,
however, more
versatile mix-and-
match separates
were worn to stretch
the wardrobe.
 Make Do and Mend 345
Two Bond Street a

shoppers, wearing
elegant suits and
what appear to be
real stockings, carry
their gas masks
Slung over the
shoulder in
cardboard boxes on
strings in the first
months of war. Later
on, fashions adapted
to include special
gas mask shoulder
bags that were made
to match a particular
outfit and larger,
hand-held leather
bags, such as the
one shown here.
346 Make Do and Mend

Journalist Anne
Scott James wears a
s-style trouser
suit in 1941.
Women started to
wear ‘sla uits’
for relaxing at home
or for ‘manual’ work.
Anne Scott James
was to sit on the
committee for
fashion and
accessories of the
‘Britain Can Make It’
exhibition after the
war, which aimed to
promote British
products for export
and to regenerate
trade.
 Make Do and Mend 347
Private Hardy Amies
puts the finishing
touches to
Lachasse’s 1940
Spring collection
before returning for
duty in an officer
Cadet training unit.
Amies became
designer and
managing director of
Lachasse, which
specialised in
women’s tweed
suits. Even though
this picture was
taken in January
1940, before
rationing and
clothing restrictions
were introduced,
skirts were cut
shorter and dresses
were nipped in at
the waist in the
wartime ‘waste not’
style.
oO
ke Do and Mend

rf : Hy } { } , { j
 Make Do and Mend 349

HD
a th

Models pose outside designer Edward Molyneux’s London offices in

1941 (left). This hooded tweed coat (above) was designed in 1939,
when designers were still able to use ample lengths of fabric for their
designs. Designer Robert Piguet designed similar hooded shelter coats.
350 Make Do and Mend

Two women pose in

their ‘siren suits’;
these were demure
wool dressing
gowns, which were
warmer and more
suitable than
Thirties-style
negligees for running
out to the air raid
shelter at a
moment's notice.
Digby Morton was
known for his siren
suit designs. The
picture is dated
1939, the year
designers reacted to
the crisis by
designing gas mask
size bags and jersey
turbans for night-
time air raid
elegance.
 Make Do and Mend 351
The women left
behind could always
keep the men close
to their hearts with
nightwear pyjamas
embroidered with a
Royal Air Force
emblem. Silk was
ruled out for civilian
clothing in Brita
these pyjamas may
well have been
made of rayon, the
wartime substitute.
352 Make Do and Mend
 Make Do and Mend 353

Posing at a picnic (left), these girls model American-

style cotton casual dresses influenced by workwear
styles. The navy and white striped dress on the left
conforms to Utility regulations and would have been
sold at a controlled price. The girl in the middle wears
a dress with a detachable bib top to keep her white
shirt clean. Colours for American-style dresses were
bold, and white, because it got dirty so easily, was
usually kept for shirts, collars and cuffs.
 354 Make Do and Mend

Well-made American practical, ready-to-wear fashion

was
the envy of Europe. Here American-style dungarees
have a
detachable apron that can be washed and ironed
separately. America continued to develop versatility
and
comfort in clothing until the end of the century.
 Make Do and Mend 355

This bright blue pinafore was worn over a striped shirt (above, left). These workwear separates were
made from cotton or linen which, compared with ‘fancy’ dress fabrics, were easily washable. An all-
in-one boiler suit had large pockets and harem-style trouser bottoms for practical gardening (above,
right), a style brought back by Claire McCardell. These American designs were made up in Britain
and sold at Bourne & Hollingsworth on Oxford Street, as imports were forbidden.
356 Make Do and Mend

Small prints that could be easily matched on a seam were used for
formal summer day dresses to restrict fabric wastage (left and
above),
and adding white collars and cuffs saved precious dress material.
The
matching dresses (opposite) would have used up seven precious
Y coupons each.
Make Do and Mend 357
358 Make Do and Me nd

Clickety-click went
the wartime knitting
needles, as women
and children knitted
for Victory. This
woman knitting in
an air raid shelter
(left) wears a gauze
mask, which the
diseased or cold-
ridden were advised
to wear to reduce
the risk of spreading
infection in the
confined space of a
shelter. Women knit
socks for the forces
(opposite, above),
and children knit
shawls for
themselves, to wear
in the bomb shelters
at school (opposite,
below). Knitwear
became very
fashionable in the
1950s, possibly as
a result of the
wartime enthusiasm
for knitting.
 Make Do and Mend 359

Ha),
up
neii
360 Make Do and Mend

Just like in the Twenties the shorter skirt showed off the
legs, but in Britain sheer stockings in silk, or much sought
after nylon, were in short supply. Women turned to wool
stockings in winter and tried trompe /'oeil stockings for
summer. Here a beautician applies tanning lotion in the
Bare Leg Beauty Bar in Croydon, south London (left), in
front of a beach scene backdrop and a Max Factor
beautician paints on the stocking seams (above). Women
even used cocoa or gravy.
 Make Do and Mend 361

|
Hanufacturer SubStandar

Women fight for coupon-free, sub-standard artificial stockings in a flash sale. In 1941
British civilian women were allocated sixty-six coupons per year for their complete
wardrobe. A single pair of stockings alone would use up two whole precious coupons.
362 Make Do and Mend

Queen Elizabeth talks to a group of bombed-out south

Londoners in 1940. As the daywear silhouette grew
slimmer and shorter, hats got bigger — they were not
rationed. The woman in the pinstriped suit wears
another fashion that was fuelled by wartime necessity:
bags with shoulder straps were much more practical
than hand-held bags.
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64 Make Do and Mend

A day at the races,

France, 1945. This
woman's lavish fur
stole, neat hat and
decadently opulent
high-heeled boots
bring to life what
would have
otherwise been a
very plain dress.
 Make Do and Mend 365
These two crepe
dresses conform to
British Utility fabric
and price standards,
but are both elegant
and roomy. Taken in
1946, this picture
shows how the new
feminine silhouette
with its wider skirt
had replaced the
pinched, mean and
slim war look.
366 Make Do and Mend

American actress Carole Landis marries Thomas Wallace in London in 1943. If she had been British,
her dress would have been made from rayon or viscose, but in America more luxurious fabrics were
available; this would have been silk or even nylon. Her guests wear bold make-up. During the war
many of the ingredients that went into make-up were scarce. Rich lipstick, an absolute essential for the
fashion-conscious woman, was crumbly and the results were often blotchy.
 Make Do and Mend 367

Nell Dearing of the Express Dairy cuts her wedding cake. Her headdress
has a very short, scarf-like veil, probably as a result of the fabric shortages
of the time. Women wore both knee-length and long dresses to get married
in, and the fashionable colours were pale pink and pale blue as well as
white or cream.
368 Make Do and Mend

The ‘Forces’
Sweetheart’, singer
Vera Lynn, shows off
the wartime
silhouette in 1942
with its sharp
shoulders and close-
fitting dresses. Day
dresses were cut in
linen or rayon, and
coats and suits in
wool. Fur was still
popular for jackets,
mufflers, boleros ant
stoles. In this
photograph Vera
Lynn is carrying an
entire fox.
 Make Do and Mend 369
Actress and
comedienne Gracie
Fields poses with a
bashful soldier in
Rome. In 1945, the
year this picture was
taken, civilian
women were
wearing felt berets
with coloured bands
similar to the one
sported by ‘Our
Gracie’ here.
370 Make Do and Mend

For day, dresses sported military belt detailing and buttons; this one (above, left) has a detachable
top which can be combined with another skirt, 1946. Sharply cut little black dresses were
sometimes decorated with white collars and cuffs, as this home-made one (above, centre), 1941.
Fly-front, button-through dresses could be worn on their own, or open as a coat over another dress
for a more versatile look (above, right), 1946.
 Make Do and Mend 371
2

ee

This afternoon dress in bright green, by Jacques Heim, 1946 (above, left), has a detachable front panel.
Pairs of old dresses were recycled so that the dress on top could be worn open from neck to knee, the gap
being filled with panels from the second dress. This chic 1941 dress with military-style buttoned pocket
detailing (above, right) is by Edward Molyneux, who was based in London during the war. He also
designed Utility scheme prototypes.
 Make Do and Mend 373

In Britain in 1942, a clutch of top designers were asked to come up with Utility
designs in line with cutting, fabric and price restrictions, to sell on to
manufacturers. (Above) An original, on the left, is worn next to its mass-produced
copy. Norman Hartnell provided prototypes (opposite, right) for the Utility scheme,
and this two-tone dress (opposite, left) was also made to Utility specifications.
374 Make Do and Mend

The skirt of this

dirndl-style summer
skirt was
successfully made
from three yards of
bright red, green and
black remnant
curtain material.
Wide-printed skirts
such as these were
popular for
beachwear, 194
 Make Do and Mend 375
Under the ‘Make
and Mend’ initiative
of 1942 run by
women’s organis-
ations, women were
shown ingenious
methods of patching
ogether old clothes
to make new
garments. The
esults are impress-
ive, but lack the
elegance that was so
carefully preserved
by many women of
the war era.
376 Make Do and Mend

In true ‘make-do-
and-mend’ fashion,
this women has
thriftily tailored an
elegant 1941 coat
from a white
candlewick
bedspread, as
recommended in
Picture Post. In the
same year ‘tailor-
knit’ jackets, with a
similar looped wool
finish, appeared in
Vogue and were
proclaimed the
height of elegance.
 Make Do and Mend 377
Paris couture
survived Hitler’s
plans to move its
houses to Berlin and
Vienna, but was still
criticised by some
for pandering to its
Nazi patrons during
the war. This
woollen coat by
Cristobal Balenciaga
of autumn 1945
shows the evolution
of a more curvy,
post-war silhouette,
with its defined
waist and abundant
use of fabric at the
shoulders. Two years
later fully-fledged
feminine fashion
was to be flung into
the spotlight with
Christian Dior’s
new look.

were:
=
nd Mend
 Make Do and Mend 379

The Croydon store Kennards, in south London,

organises an open-air fashion show in 1943 to
display the latest Utility clothing worn with
artificial silk stockings. Utility meant clothes
which conformed to cloth standards approved
by the Government. It had distinctive buttons
bearing the logo CC41, and the pieces were
regarded as desirable and of good quality.
s 8 =

i
 Make Do and Mend 381

These British Land Army girls of 1940 (opposite) in their dungarees were among
approximately 80,000 women who enrolled to work on the land during the war. They also
wore breeches. Italian partisans associated with the Partito d’Azione have joined up to
liberate their country from German occupation (above). They wear trench coat-style
overcoats, similar to styles worn by soldiers in the First World War, and sturdy shoes.
382 Make Do and Mend

A woman takes her high heels to a post-war Berlin ‘swop shop’ to

exchange them for more practical winter shoes. Chunky cork and
wooden soles were used for day, and raffia and canvas were
substituted when leather was redirected from civilian use to make army
boots. Synthetic materials were also used to make shoes and galoshes.
 Make Do and Mend 383

Women shoppers cannot believe their luck after stumbling upon this
Government surplus parachute nylon in 1945. The down side is
that nylon costs two clothing coupons per yard. Nylon was seen as
the unobtainable wonder-fabric, and was used for making
parachutes rather than for civilian use.
384 Make Do and

Josephine Baker gives the troops a Victory song at a party in 1945, During the war she
also
worked for the Red Cross and the French Resistance and was awarded the Croix de Guerre,
the Rosette de la Résistance and was appointed to the Légion d'Honneur for her efforts.
Her
dress is similar to bridalwear and eveningwear styles worn before the war but may
well have
been a modern dress by Madame Grés or Maggie Rouff.
 Make Do and Mend 385

Marlene Dietrich returns home to New York in 1945

in uniform. She made over five hundred appearances
in front of American troops overseas and gave
propaganda broadcasts in German, for which she was
awarded the US Medal of Freedom.
) and Mer

A Parisian model
shows off her
cripplingly high
wedge shoes which
have soles made of
wood, September
1944. Designer
Salvatore Ferragamo
had introduced
platform shoes
before the start of
the war, and went
on to experiment
with shoes made
from snail shells,
webbing, lace and
nylon. Platform
shoes were to come
back into fashion in
the Seventies.
 Make Do and Mend 387

Three American Gls stationed in Germany after the war

steadfastly ignore a pair of German girls. ‘Fraternisation’
was banned. The girl on the left wears platform shoes,
with soles possibly made of wood or cork, and a
lightweight summer coat over her dress.
388 Make Do and Mend

In 1945 the Théatre de la Mode brought Paris couture in miniature to London in

an attempt to revitalise the French fashion industry after the war. Here girls in
uniform admire the decadently wide skirts, which were soon to become
mainstream fashion. The clothing was presented in lit ‘theatres’, and both Jean
Cocteau and the painter Christian Bérard contributed to the project.
 Make Do and Mend 389

Members of the American Wo s Auxiliary Corps test perfumes in

Paris at the end of the war. Their uniforms were designed by Philip
Mangone. American troops queued outside the Chanel boutique after
the liberation of Paris, to buy some of the much sought after Chanel
No. 5 scent for their girls back home.
390 Make Do and Mend

This Miami Beach style of 1946 shows American women in their mass-produced
trousers and tops. The girl on the left wears a pinafore-style top over a striped shirt, a
style that was also popular for pinafore dresses. Her hair is worn in the fashionable
doughnut-shaped bun. The white shirt worn by the girl third from left is an example of
the American trend for Latino-style wide skirts worn with puffed sleeve tops.
 Make Do and Mend 391
During the war,
much of the wool
available had been
reserved for
uniforms, but these
1946 woollen
civilian outfits by
Daks in sober grey
or bracken were also
accompanied by
woollen dinner
gowns and woollen
evening coats. The
casual trousers and
Shirts ape military
styles with button-up
pockets and
wide trousers.
392 Make Do and Mend
 Make Do and Mend 393
Hats started out
large at the
beginning of the
war. As materials
such as straw ran
out, women
improvised with
precious scraps of
dress material to
make miniature doll-
like hats which were
worn perched on the
head (opposite), like
the feathered head-
band worn-by
actress Phyllis
Calvert (opposite,
top middle). Berets,
turbans, hairnets
and snoods (right)
were also adopted
as cheaper
alternatives and
customisation was
encouraged. The
dove motif, a symbol
of peace, is used to
decorate a victory
hat of 1945
(opposite, middle
right).
il
394 Make Do and Mend

Ls) RARER,
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RENT Men
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Ingrid Bergman in a scene from the film Casablanca (1942). Her relaxed dress
with pinafore detailing over a resort-style striped top Is a fine example of the way
the American sports style made its way into daywear dresses. She is wearing
peep-toe shoes that in Britain were frowned upon as dangerous for war work and
regarded as unnecessarily extravagant.
 Make Do and Mend 395
Actress Lauren
Bacall in provocative
pose. While the
British painted on
their stockings and
ate rehydrated eggs,
American women
were wearing nylons
and peeling oranges.
Bacall’s nipped-in
waist and wide skirt
was a look that only
caught on in Europe
after the war. Her
black polo_neck top
anticipates the
beatnik style which
emerged in the mid-
Fifties.
396 Make Do and Mend

Relaxing on the beach in Blackpool in 1942. Younger girls reacted

to the stocking shortage by wearing short ankle socks rather than
painting on their stockings. Beach styles of the time included wide-
printed, cotton knee-length skirts (for those who could afford the
luxury), matching wide-brimmed hats and knitted cotton T-shirts.
 Make Do and Mend 397

Girls show their legs

at the fair, riding on
the caterpillar in
Southend in 1945
The girl on the left
appears to have
tucked her wide-
legged knickers into
the bottom of her
stretch girdle (worn
underneath) in
anticipation of the
windy ride. Has she
let her skirt fly up
on purpose?
398 Make Do and Mend

This American wrap

around ‘play dress’
was probably made
out of stretch cotton
trimmed with lace,
and was worn with
matching shorts
underneath

pulescenton pare
 Make Do and Mend 399

The bikini was

launched in France
by designers
Jacques Heim and
Louis Réard in
1946, and took off
in a big way in
Europe during the
1950s. One-piece
swimming costumes
were also still
fashionable.
400 Make Do and Mend

Stripes and seashell

prints livened up a
streamlined, one-
piece swimming
costume. Halter
necks were still
popular, and on the
beach women wore
open-toed canvas
shoes with ballet-
style ribbons which
wrapped around
the ankle.
 Make Do and Mend 401

Two women smoke, pose and worry about their hair by the side of the pool at
Roehampton, London, in 1943. The more revealing bikini was not popular yet, but
bra tops in rayon worn with short skirts like this one were already fashionable. The
women wear full make-up and hair, regarded as the hats of the period, was worn
towering and full.
402 Make Do and Mend

Swansea girls take

tea in the 1939
sunshine wearing
fashionable white-
rimmed sunglasses.
Knitted cotton
matching shorts anc
tops were worn as
leisurewear and
white versions were
worn for tennis.
When dress fabric
was scarce, terry
cloth, canvas and
curtains were used
to make sports anc
leisurewear.
 Make Do and Mend 403

Pre-shrunk cotton or rayon was used often used for beach

and leisurewear. These shorts (right) are in red and the
Viyella shirt is decorated with green checks. Girls relax by
the river in 1941 (above). The swimming costume is
probably made out of elasticised cotton and may also have
featured ruched detailing at the hem.
404 Make Do and Mend

In April 193°
Picture Post reporte
on the diversity of
the Paris collections

because we're all sc

unsettled in our
minds that we can't
de e on one
definite line’. By
September war had
been declared. This
scarlet satin coat
worn over a hoope#
lace skirt is by
Balenciaga, its
Thirties bodice
giving way to an
18th-century-style
gown. Paris was tc
continue producing
lavish clothes
throughout the wat
 Make Do and Mend 405

Outside Paris, evening dresses were cut slim and long. In 1940 Molyneux’s dress (above, left) is still opulent, with
a jewelled neck line and an extravagant use of fabric for the puffed sleeves. (Above, centre) By 1945, separates
had been introduced for evening. This lamé top is combined with a long black skirt, with a slit to the knee. (Above
right) By 1942, flared skirts, fur trims, net dresses and tiered skirts were forbidden and long gloves and jewelled
clips were no longer being made. This ‘Austerity’ peg-top dress in crepe was about as formal as it got.
ke Do and Mend
 Make Do and Mend 407

Many women copied the softly

waved ‘peekaboo’ hairstyle of
actress Veronica Lake, with one
lock of hair falling over the eye.
Eventually she was asked to cut
her hair, as the copycat styles were
causing accidents in factories
when the workers’ long tresses
became caught up in machinery.
Here Veronica Lake wears full
Hollywood glamour make-up, but
European women had to make do
with shoe polish for their
eyebrows, red wine instead of
rouge and buffing their nails rather
than painting them.
408 Make Do and Mend

Hair was worn high up on the head, and it grew higher as hat materials grew
scarcer. Doughnut buns and chignons were popular and hair was often curled
into high headdresses (above, left and right). Actress Betty Grable wears her
hair in high curls (top, left) and actress Jean Gillie (top, right) goes for a longer
curled style, which retains height on top of the head.
 Make Do and Mend 409

As clothing materials grew scarce women placed

more emphasis on their hair and make-up. Here
women prepare for a night's dancing in 1939.
Their long hair has been carefully rolled, curled
and pinned.
6 New World—New Look
1947-1956

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A model wearing a New Look dress in the style of Christian Dior's 1947 collection is seized
by two furious women in the rue Lepic, Paris. Both are still dressed in streamlined, wartime
clothes. The lavish use of fabric for the new, full-skirted dresses was criticised by some
women as being both unpatriotic and extravagant. They picketed the house of Dior, but the
resulting publicity only fuelled the enthusiasm for the wide-skirted trend.
6 New World—New Look
1947-1956

With fewer wartime constraints, fashion began to blossom. In 1945 designers smoothed off fashion’s
Sharp lines to create a softer silhouette, but it was Christian Dior who had the nerve to exaggerate
the feminine silhouette to cartoon-like proportions. With the provocative swish of a wide skirt, Dior
brought fantasy to life with his first ever Paris couture collection of 1947. Women were scandalised
but thrilled by the fairy-tale extravagance of ballerina skirts, tapered waists and bust-enhancing
bodices. Dior thumbed his nose at the post-war poverty and lack of materials, using as much as
twenty-five yards of fabric for a single dress. Governments condemned it and American protest
groups denounced it, but it was too late. Forget unpatriotic, impractical, expensive: women had
already fallen in love with the romantic style which made the wartime suits look so mean, even if
wearing a Dior dress meant a return to the corsets and hip pads of the Belle Epoque. In 1947 Picture :
Post commented: ‘The shirt-waists and full skirts of the Nineties are fashion news today.’ Carmel —
Snow called it the ‘New Look’, and Dior was launched.
Christian Dior had been singled out for attention by the textile giant Marcel Boussac, who offered |
to fund the opening of his couture house. Boussac would not be disappointed in his choice. The
young visionary had soon built his own name into an aspirational brand. Just as Gucci would in the
1990s, Dior set the trends, everyone else copied them and the company reaped the considerable —
financial rewards. He tempted his couture customers with newer looks each season: the H-line, the
A-line, the tulip line and the Y-line. By 1954 he was presiding over an empire, with boutiques, ready-
to-wear, scent, stockings, accessories and lingerie running alongside his couture line.
If Dior was a pedlar of dreams, Cristobal Balenciaga was a fashion purist, offering sculptural
drapery and sophisticated tailoring. His ergonomic suits with stand-away collars were smooth, and,
in contrast to wide New Look skirts, he offered tight pencil skirts with jackets that rested on the hip.
While women were squeezing themselves into waspie corsets and stilettos, Coco Chanel, now over
seventy, came stalking back with her relaxed suits and comfortable, unrestrictive dressing.
With the increase of ready-to-wear and mass production, couture found itself being shunted onto
the sidelines. From the early days of the century couturiers had sold toi/les, or couture samples, to
manufacturers so that they could reproduce and sell copies of the couture looks with the couturiers’
permission. During the 1930s Depression, America severely taxed imported couture originals but
imposed no such taxes on foiles. The American mass production of copies from Paris increased
markedly. During the war America had proved that ready-to-wear could work without Paris’s design

influence, and that the rich would buy well-designed, off-the-peg clothes if they were offered in a
wide enough range of sizes. America began to lead in quality, mass-produced, ready-to-wear
clothing.
In the Twenties, European designers such as Jean Patou had launched leisure ranges to run
alongside their couture businesses and in the 1930s couturier Lucien Lelong launched a line of
dresses that were ready-made rather than individually fitted to a woman’s figure. After the war
Jacques Fath, Hardy Amies, Christian Dior and others soon followed, launching their own ready-to-
wear lines; they often teamed up with manufacturers to take care of the production but designed the
clothes themselves. Women could now buy into a designer brand ‘off the peg’ at a reduced price.
Next, European designers started to skip the couture route altogether, with Chloé, Emilio Pucci and
Albert Lempereur all launching up-market, well-designed, ready-to-wear clothes.
The Fifties marked the liberation of the teenager as free spirit. A rash of subcultures was spawned:
biker girls rode up behind the boys in unisex jeans, boots and leather jackets and beatnik girls danced
to be-bop in head-to-toe black. Manufacturers spotted a gap In the market and quickly bridged it,
designing reasonably priced, fashionable clothes specifically targeted at the young.
414 New World—New Look

Christian Dior’s first

ever couture
collection in 1947
was to change the
way women looked
for the next decade.
The sheer amount of
fabric used caused
outrage. This
famous Bar suit,
with its nipped-in
jacket, sloped
shoulders and
sweeping skirt,
epitomised his New
Look silhouette.
Flying saucer hats
and stiletto heels
were the necessary
accessories.
 New World—New Look 415
This dress by Ronald
Paterson in 1955 is
heavily influenced
by Dior. Shorter
evening dresses, or
‘cocktail dresses’,
ike this one were a
new concept in the
950s. Cocktail
dresses were worn
for early drinks or
ctrhe theatre, when

daywear would not

have been smart
enough and a
Sweeping evening
dress would have
been too grand.
416 New World—New Look

Christian Dior works

on a silk coat in his
Paris studio in
1952. He had a
lucky break when
Marcel Boussac, a
leading cotton goods
manufacturer and
rumoured to be one
of the wealthiest
men in France,
offered to back his
first collection. At its
peak, the house of
Dior was reputedly
grossing more than
£2 million a year.
 New World—New Look 417

Film star Jane Russell is delighted at her fitting for an H-line

creation with Dior in 1954. His H-line featured short, tight skirts
which finished a couple of inches below the knee. Long jackets or
slightly ballooning coats had pockets or detailing set on the hip to
suggest the drop-waisted crossbar of an H.
418 New World New Look

Princess Elizabeth
chats to Madame
Bidault, wife of the
French minister, on
a visit to Versailles in
1948. She wears a
modern two-piece-
style ensemble,
designed by Norman
Hartnell. Polka dots
were a popular motif
for both formal
daywear and
informal beach
dresses.
 New World—New Look 419

Eva Peron, better known as Evita, was the

legendary wife of Argentinian President Juan Per6n.
Her sleek chignon and lavish dress with three-
quarter sleeves marks her as a high-profile client of
the house of Dior.
420 New World—New Look

(Right) Fashion journalists at a Dior show in August

1955 include Marie-Louise Bousquet (with stick),
Paris editor, and Carmel Snow (in white hat), editor-
in-chief of Harper's Bazaar. For Dior’s earlier
collection, Snow famously coined the name New
Look. Alexander Liberman, art director of American
Vogue, is seated behind Bousquet. (Above)
Photographer Richard Avedon and Diana Vreeland,
Snow's successor as fashion editor of Harper's
Bazaar and later American Vogue, supervise a
fashion shoot for jewellery at Tiffany’s. Both Avedon
and Vreeland were top in their fields during the
Fifties and Sixties.
2 New Wor
 New World—New Look 423
Buyers attend the
first show of Hubert
de Givenchy in
Paris, March 1952
(opposite). His
prices were cheaper
than the average
couturier's and his
style was relatively
informal for couture.
He created mix-and-
match pieces, such
as a dress with
several detachable
bodices that could
be interchanged for
different looks, as
well as clothes made
from men’s shirting.
A wide skirted, blue
linen day dress
shown in 1955 by
Dior (right) contrasts
with the slimmer
suit modelled on the
same catwalk.
424 New World New Look

Volume and a cele-

bration of fabric
were not limited only
to skirts. This jacket
is another one of
Dior’s, this time his
fly-away line of
1948, to be teamed
with a straight, tight
skirt. He even
designed matching
boots. Dior had also
extended his New
Look wide skirts so
that they swept the
Lona
floor, for an even
reveh
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 New World—New Look 425
Couturier Jacques
Fath, who was
renowned for his
hourglass designs,
floating panels and
full skirts, here
contrasts a pencil-
slim skirt with a
sweepingly wide,
bell line coat of
1951. He sums up
the two dominant
silhouettes of the era
in one outfit,
showing wide and
slim together. His
later sleeveless
versions of this coat
had the over-collar
sitting like a bolero
over the rest of
the coat.
426 New World—New Look

To fit over the New Look-style sweeping skirts, coats were cut wide and
voluminous. Givenchy’s version, 1955 (left), in brown wool keeps the
volume at the back and bows suggest that the fabric has just been
casually tied up rather than carefully sewn into place. Italian designer
Roberto Capucci was not so subtle with his vast coat from 1956: cut to
wear with a wide skirt (above), it also features detailing at the back.
 New World—New Look 427
This 1952 Michael
of Lachasse coat,
with its knife-pleated
Satin detailing, lets
the fabric flow
beautifully from the
neck to achieve the
wide look. Once
again, the all-
important back
detailing is here, and
the pleats which
help in the
construction of the
garment also act as
decorative detailing.
Full kimono sleeves
or long puffed
sleeves gathered at
the cuff were now
back in fashion.
428 New World—New Look

Various coat shapes

of the Fifties are
shown here. A red
velvet coat by Hardy
Amies (left) from
1950. The pockets
sit out from the hip
to emphasise the
small waist. From
1954 (opposite,
from the left): an A-
line flared mink coat
by Jean Dessés; an
S-line grey flannel
suit by Jacques
Fath; and an H-line
brown velour coat b
Christian Dior.
New World—New Look 429
430 New World—New Look

The wide skirt and

nipped-in waist were
adopted for elegant
summer daywear,
and the halter neck
from the 1930s was
back in fashion. This
1953 dress by
Frederick Starke
emphasises the busi
with its ruched neck
line. Cheerful florals
spots, stripes and
gingham checks
were more summet
favourites.
 New World—New Look 431

Guests at a
Buckingham Palace
Garden Party record
the occasion with a
quick snapshot at
the head of the Mall,
1956. The use of
the twisted seams
which stretch to the
hip, seen on the
striped dress, were a
device employed by
Christian Dior to
emphasise a
curvaceous figure
and small waist.
Small, close-fitting
hats, such as the
one worn by the
woman on the right,
resembled
hairpieces. They
were often made of
feathers, leaf-shaped
leather pieces or
beads threaded onto
wire to make an
open-mesh skullcap.
 A
43 New World—New Look

Modelled in a
Parisian café, a grey-
n checked dress
) Norman
Hartnell’s 1951 low-
priced ready-to-wear
line, available from
the department store
Au Printemps (left)
5 is a typical day
x4his
dress of the late
Forties and early
Fifties, with its
button-front bodice
and slim belt. Mode
Anne Gunning wear
a versatile deep grey
hand-knitted dress
in 1952 (opposite)
With Chanel back o
the scene, and
‘knitting for Victory’
a recent wartime
hobby, knitted
dresses, jumpers
and cardigans were
fashion favourites.
 Z ®= =S = i PZB® = afo}oO a a oO(ap)

Mon.
434 New World—New Look

A Givenchy dress in
blue piqué from
1955. London
dressmakers such as
Polly Peck, Frank
Usher and Dorville
were able to make
successful ready-to-
Wear copies and
adaptations for a
fraction of the price
of the couture
original.
 New World—New Look 435

This elegant apron-

cut top and tight
skirt by Dior, 1955,
was also copied in
Britain. Some
cocktail dresses at
the time were held
up by spaghetti
straps like these.
The small hat
perched on top of
the head is probably
made from
lacquered straw.
Gloves had returned
to their close-fitting
shape after the
gauntlet styles of the
Thirties.
436 New World—New Look

A new silhouette was launched nearly every season, driving fashion sales, with consumers wanting the
new look of the season and regarding last year's as passé. (Above, left) Pierre Balmain offers the curved
streamlined look in red tweed in 1953. (Above, centre) A grey tweed bat wing sleeve suit with a pouch
back by Giuseppi Mattli, 1958. (Above, right) A 1949 brown herringbone suit, designed by Bianca
Mosca, with a caped-back jacket which flares out at the back.
 New World—New Look 437

(Above, left) Dior’s top-heavy suit, with an A-line-style jacket and slim skirt. It was copied by Dorville for
sale on the British high street, 1955. (Above, centre) The full A-line silhouette with skirts that flare out at
the hem in the shape of the letter. A Jacques Fath design, it was adapted by Polly Peck into ready-to-
wear, 1955. (Above, right) A curvy S-line with slim cut, rounded back shown here as a black velour
outfit, by French designer Jacques Griffe, 1954.
438 New World—New Look

Italian actress Gina

Lollobrigida poses in
a frothy, feminine
evening version of
the wide-skirted
dress in 1952 (left).
é
Both Lollobrigida
and Sophia Loren
were known for
id
Ee dressing in a young,
casual style, with
tight trousers,
printed shirts and
etc
ertaraersues
off-the-shoulder
knits. Florence was
already hosting
fashion shows for
international buyers,
and this would
evolve into Milan
Fashion Week. This
flowing, romantic
evening dress
(opposite) is being
modelled in
Florence. Shoe
designer Salvatore
Ferragamo, luxury
resortwear designer
Emilio Pucci and
eveningwear experts
Roberto Capucci and
Valentino were all
well known at the
time. Italian clothes’
prices were cheaper
than Paris and
production was
faster.
New World—New Look 439
440 New World—New Look

This sculptural
evening gown (left)
is by Cristobal
Balenciaga, 1955.
The off-the-shoulder
cut was also used in
knitwear and for
blouses at the time.
An equally dramatic
evening dress of
1954 (opposite) is
executed by
Christian Dior in
satin. Whereas Dior
produced new looks
every year and
women copied his
latest styles,
Balenciaga evolved
slowly and his
pieces were more
like works of art.
New World—New Look 441
442 New World—New Look
Rather than
translating harem
pants into
sportswear, Jacques
Fath has turned
them into loose
culottes in layers of
pleated turquoise
chiffon. The divided
skirts of this
‘Canasta’ dress of
1952 give the effect
of a skirt. The look
is similar to the
puffball skirts which
evolved during the
Eighties.
 New World—New Look 443
British couturier
John Cavanagh
gives this neat black
cocktail dress of the
same year a
feminine touch by
building it up with
layers of pleated
tulle. Cavanagh
trained with Pierre
Balmain in Paris
before opening his
own house in
London, and, like
many British
designers at the
time, was known for
his cutting skills.
444 New World—New Look
Cristobal Balenciaga
plays with the notion
of hidden luxury
with this 1951
dress. The bodice
and over-skirt are
made of cotton, but
the tattered
petticoat-style skirt Is
made from silk.
Balenciaga liked to
contrast heavy
material with
feather-light fabrics
such as gazar silk, 2
technique he
demonstrates here.
 New World—New Look 445
Hubert de Givenchy,
the Paris couturier
whose mentor was
Balenciaga, was
known for his
sculptural evening
and modern,
versatile daywear.
This semi-fitted
dress is from 1955
and here he
experiments with
cape-like drapery
which balloons out
at the back of the
body. Balenciaga
used a similar
technique, creating
dresses and cloaks
that billowed away
from the spine.
446 New World—New Look
Slim-cut trousers,
easy knitwear and
flat, ballet-style
shoes were ready-to-
wear favourites in
the 1950s for both
women and younger
girls. The look was
elegant and relaxed
and was worn
without a hat or
gloves. This is an
outfit from 1955.
 New World—New Look 447
Housewife Ann
Grierson models a
black jersey top and
wide skirt in 1955.
Here the emphasis
is on mixing and
matching, and the
elegant silhouette of
Sloping shoulders,
small waist and
wide skirt could be
achieved by wearing
separates. A
wardrobe of separate
skirts and tops or
dresses with
interchangeable
bodices would offer
many more possible
combinations of
outfits than a
wardrobe of one-
piece dresses and a
series of suits.

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ILE4,
448 New World—New Look

The teenage and

leisurewear markets
produced clothes
with bold prints for
day, such as this
two-piece summer
dress by Horrocks.
For evening,
brocades were
popular. Elsa
Schiaparelli designed
a cocktail dress in
bright paisley
cashmere lame and
Dior developed a
passion for
leopard skin
 New World—New Look 449

An exuberant chorus girl wears a casual, swirling, printed dress as she enjoys a day at
the fair in the English seaside town of Margate. In America in the Forties girls had started
a trend for wide shirts, peasant-style white blouses and South American-style flounces,
but the look would not have been available to British women during the war. Italian
designer Emilio Pucci was best known for his swirling print designs.
450 New World—New Look

Shorts were getting

briefer and wider,
and matching wrap-
over or strapless
tops were worn with
them to make up
‘playsuits’. This one
in black cotton is
designed by
Frederick Starke,
1953. Jackets or
beach coats were
loosely cut, thigh
length and often had
big pockets. Raffia
sun hats and flat,
criss-cross sandals
were fashionable
beach accessories.
 New World—New Look 451
Mix-and-match
component dressing
was popular for the
beach. Women wore
matching bathing
Suits, tops and skirts
which could be
interchanged and
layered. Here a two-
piece ‘playsuit’ is
worn underneath a
split, wide skirt
designed by Addie
Masters. This style
would be revisited in
the Seventies, when
hot-pants were worn
under a skirt split to
the waist, even at
formal occasions
such as weddings.
New World Ne > Jfe) x
 New World—New Look 453

Marlon Brando (second from the left)

with his biker gang, the ‘Black Rebels’, in
a scene from the 1953 film The Wild
One. ‘Ton-up’ or biker girls rode pillion on
their boyfriends’ motorbikes wearing
unisex jeans and biker boots. Films such
as The Wild One and Rebel Without A
Cause influenced the look, but, rather
than influencing mainstream fashion, it
remained at street level. The Fifties
marked the birth of teen culture.
Adolescent girls no longer felt that they
had to dress like their mothers: they
could create their own style.
454 New World—New Look

The teenage look

was epitomised by
the off-screen
wardrobes of screen
icons such as
Marilyn Monroe and
Brigitte Bardot, who
opted to relax in
casual clothes rather
than maintain the
perennial glamour of
film stars of the
Thirties. Here
Monroe wears capri
pants and a simple
tunic-style shirt for a
relaxed leisure look
in 1954. She also
favoured jeans and
sweaters.
 New World—New Look 455
Twenty-two-year-old
Brigitte Bardot,
known as the ‘Sex
Kitten’, runs along
the beach in a photo
call at Cannes in
1956. Bardot had
previously been a
model, and often
chose simple,
unshowy clothes
over glamour. Her
pink gingham
wedding dress,
designed by Jacques
Esterel, brought
gingham back into
fashion and her
wide skirts,
ballet-style shoes,
hooped earrings and
ponytail were all
widely copied.
456 New World—New Look

A gaggle of giggling teenagers wear loose unisex jeans and baseball

jackets, relaxed pieces of clothing their mothers would never have
dreamt of wearing. Sales of blue jeans rocketed in the mid-Fifties. In
contrast to these girls, their more sensibly dressed peers (left) wear
wide skirts and slip-on shoes.
 New World—New Look 457

In America in 1956 Elvis Presley fused country music and rhythm and blues to
give Fifties’ youth rock ’n’ roll. In Britain, fans had to make do with Tommy Steele;
here they appear to be enjoying themselves at one of his concerts in 1957. These
girls follow the fashionable streamlined look, wearing pencil skirts and tight
jumpers which had probably been mass-produced.
458 New World—New Look

Parisian students
jitterbug at a night
club on the Left
Bank in 1949 (left)
and revellers jive in
New York’s
Greenwich Village
(opposite): teen
culture was in mid-
swing. Girls and
boys wore loose
trousers, checked
shirts and baseball
boots. The shorter-
style loose trousers
were known as
pedal pushers. This
was the beginning 01
a casual, unisex
daywear style that
would be popular fo:
the rest of the
century.
New World—New Look 459
460 New World—New Look
 New World—New Look 461

&
cauees’s SUNIOR Iss
FASHIONS

Just as women wore culottes for cycling in the Forties, in the Fifties girls wore skirts over extra
short capri pants (opposite). Italian designers such as Emilio Pucci were fast becoming known
for offering a modern sportswear or leisure look. Some department stores now had areas
which catered specifically for the teenage market. (Above) A young girl tries on a sweeping,
printed dance dress in the Junior Miss department of a big store in 1951.
46 > New World—New Look

Film star Jayne

Mansfield flashes
her lace-trimmed bra
while out on the
town in Hollywood
in 1951. During the
Fifties the bust was
emphasised by the
curvaceous, slim-
waisted fashions
and was uplifted by
pointed, underwired
bras such as this
one
 New World—New Look 463

Weegee (Arthur Fellig) photographs a Playboy bunny girl at the

beginning of the Fifties. Bunny girls, the creation of Playboy
magazine's proprietor Hugh Hefner, were the very antithesis of
the neat little housewife of the period in her floral dress and
versatile, detachable apron.
464 New World—New Look

Bras helped to push

up the bust and
mould it into a
fashionable, pointed
shape. Some bras
were strapless and
could be worn under
evening dresses.
Waist girdles helped
to control the figure
and more extreme,
8-inch, boned
‘waspie’ corsets were
used to pull in the
waist for the New
Look. Some of Dior’s
couture dresses had
figure-controlling
underwear
incorporated into the
design. Tulle
petticoats were worn ~
to hold out wide 3
skirts.

Are
<a
T

om
oe
 New World—New Look 465
British film star
Sabrina, formerly
Norma Sykes of
Blackpool, shows
what a push-up-
and-point bra can do
for the figure. She
uses a wide belt to
emphasise her small
waist. Tight polo
necks and round
necks clung to the
body and showed off
the figure.
466 New World—New Look

Cropped trousers or capri pants and slip-on, flip-flop-

style sandals were summer essentials for the
fashionable woman and could be teamed with a
sleeveless top or jumper. Teenagers and older women
adopted this leisure look, photographed here in Rome.
 New World—New Look 467
French designer
Maxime de la
Falaise models her
own designs. This
pale tangerine
sweater of 1954
reflects the trend for
bat wing-style
sleeves in tailoring of
the time. She wears
a matching woollen
scarf around her
neck. Other jumper
trends included
twinsets, round
necks and
polo necks.
168 New World New Look
 New World—New Look 469

The head-to-toe, fully accessorised look was something women

strived for in the Fifties. (Left) Shoe shapes had become slimmer
and more pointed, but open sandals with a slight platform heel
were popular (right), as were shoes with a chunky high heel and an
ankle strap (second from right). The bucket bag (third from right)
was reputedly invented by Louis Vuitton to carry champagne. Bags
in plastic, straw, fur and leather came into fashion and there was a
craze for miniature, purse-style bags. British designer Edward Rayne
offered upmarket court shoes (above) and bags in every colour to
match an outfit. French designer Roger Vivier offered one of the first
pair of stilettos, with a heel strengthened with a steel bar.
470 New World—New Look

Grace Kelly wears a

strapless swimming
costume, 1955. It
may well have been
boned, with fitted
support for the bust,
and, like most
costumes of the
time, was cut low
on the hips. Grace
Kelly married Prince
Rainier of Monaco in
1956, but died
tragically in a car
accident in 1982.
Her name is
immortalised by the
Hermes Kelly bag, a
Square-cut design
based on a saddle
bag, which she was
often seen carrying.
 New World—New Look 471
Elizabeth Taylor,
here aged about
eighteen, poses on
the beach in a halter
neck swimming
costume. One-piece
swimsuits rather
than bikinis were
still popular in
America in this
period. She wears
full Fifties make-up:
deep red lips, heavy
black eye-liner and
probably a pale base
coloured with rouge.
472 New World—New Look

Fifties skiwear now incorporated stretch ski pants made

of nylon and wool, with straps that hooked under the
foot. They were worn with brightly coloured, hooded
anoraks made out of poplin. Ski pant-shaped trousers
were also worn for daywear at the time.
 New World—New Look 473

Tennis player
Gertrude ‘Gussie’
Moran shows off her
bloomer-style tennis
shorts worn under
an open skirt,
designed by Pierre
Balmain for her to
wear at Wimbledon
in 1950. Gussie
provoked even more
scandal with her
frilly knickers, which
were most apparent
when she performed
a particularly fast
manoeuvre on court.
One of Balmain’s
successes was his
ready-to-wear
sportswear.
474 New World—New Look

Hats and gloves were still needed to ‘finish’ a formal outfit but were no longer worn all the
time.
(Above, clockwise from the left) A range of popular hats. A floral hat with veil by
Jean Barthot; a wide,
flying saucer hat, sitting high on the forehead, by fashionable milliner Madame
Paulette; a brimless,
flat-topped hat in straw or felt; and a casual red felt hat in easy daywear style. (Opposite)
Audrey
Hepburn wears a deep hat with a turned-down brim by Givenchy in Funny Face
(1957),
476 New World New Look

Actress Katharine
Hepburn
appropriated a
masculine style of
‘ dressing. But, unlike
Marlene Dietrich in
her masculine cut

i suits, she wore little

make-up, preferring
a natural rather thari
a glamorous look.
Here, in 1952, she
wears a wide-cut
trouser suit and her
casual style
spawned many
copycats. Trousers
were often worn as
daywear, and
designer Pucci cami
up with a popular
design for nylon —
crush-free, wide
trousers Known as
palazzo pants.
 New World—New Look 477

Grace Kelly waits on

the set of To Catch A
Thief in 1955 ina
sweepingly feminine

usually long and oe

fan ctranle ith : : Sok
eae ess ee } PNTERLOCK
a cn chiffon 1 over-skirt
Over- f i NOTAR
ena
or floral embroidery
detailing the bodice.
Kelly was known for
her classic style of
neat suits and
tapered twinsets, a
marked contrast to
Monroe’s curvy, Sex
bomb image.
478 New World—New Look

meg oncae
OG

eecasceee

With her slim figure, Audrey Hepburn broke the accepted mould of the voluptuous
film star. She was
dressed on and off screen by Hubert de Givenchy, and became a walking
advertisement for his clothes.
Here she poses in one of his smooth suits in the 1957 film Funny Face
(above), which also starred Fred
Astaire as a fashion photographer; Hepburn’s and Astaire's characters
were inspired by Diana Vreeland and
Richard Avedon. Hepburn adopts the all-black, street-style beatnik
uniform at the end of the film (opposite)
New World—New Look 479
480 New World—New Look

Voluptuous curves
were fashionable in
the Fifties, perhaps
as part of a sub-
conscious return to
post-war prosperity,
with more food on
the table and the
comeback of the
ultra feminine,
idealised woman
who no longer had
to do men’s work.
Here Ava Gardner
poses in a bodysuit
in a leopard print, a
pattern favoured by
Christian Dior.

SN
SSN

i Yh
mi atiates é
 New World—New Look 481

Sex symbol Marilyn Monroe, more than anyone else, had the curvy,
womanly figure par excellence. Here she wears a shimmering sheath
dress. American designer Norman Norell was particularly known for
his sparkling sequin ‘mermaid’ sheath dresses as well as his fur
trench coats.
482 New World—New Look

lew
nton

acme
S Ae
ies. rae

SEE
Sos

Wide skirts, long veils and the use of white brocade and chiffon were back in fashion
for post-war brides. For her
marriage to Philip Mountbatten in 1947, Princess Elizabeth wears a dress by Royal
dressmaker Norman Hartnell
(above, left) which was widely copied by the mass market. She used one hundred coupons
to procure her dress,
as Clothes rationing was not abolished until 1949, Jacqueline Lee Bouvier (above, right)
favoured a lavish,
skirted, off-the-shoulder dress which showed off her suntan when she married
future American President John
Fitzgerald Kennedy in 1953. (Opposite) Prince Rainier of Monaco marries Grace Kelly
in 1956.
New World—New Look 483

~<A.
484 New World—New Look

Audrey Hepburn’s
chaste white dress
in white organdie by
Balmain shows the
sophisticated
simplicity that was
so much her
hallmark. She
married the actor
Mel Ferrer in
September 1954.
 New World—New Look 485
Brigitte Bardot’s
wedding to Jacques
Charrier in
Louveciennes, near
Paris, in June 1959,
was marked by its
informality. Her pink
gingham dress by
Jacques Esterel was
widely copied and
helped to make
gingham fashionable
once again.
486 New World—New Look

Waved hair which framed the face was popular during the Fifties and sleek chignons were more
sophisticated. Marilyn Monroe chooses the glamorous blonde bombshell look (top, right) and Ingrid
Bergman goes for feminine curls (top, left). Audrey Hepburn goes from elegant, cropped hair (above,
left) to a teen-style pony tail (above, right) in the manner of Brigitte Bardot. During the Fifties
hairdressers Raymond, known as ‘Mr Teasie Weasie’, and Antoine became celebrities.
 New World—New Look 487
The urchin cut —
hair cut boyishly
short — was adopted
by some fashionable
‘Bright Young
Things’. Here
American actress
Jean Seberg shows
her exaggeratedly
short version in
1957, an antidote to
the glossily perfect
chignons and neat
curls fashionable at
the time.
7 Minis and Mods
1957-1966

A 1965 trapeze-style, checked wool coat by Emanuel Ungaro, showing his

signature style of bold pattern and print and angular shapes. Ungaro often worked
with exclusive fabrics designed by Sonja Knapp and in double thickness to ensure
that the clothing held its sharp shape. This outfit is complemented by a neatly
clipped hairstyle by Vidal Sassoon, the fashionable London salon.
7 Minis and Mods
1957-1966

In Paris, Yves Saint Laurent, who had trained under Dior and was expected to be his successor,
alienated his Dior customers when, in 1960, he elevated beatnik and biker styles from street level
to the catwalk. A year later he branched out on his own. The results were stunning: dresses
influenced by the geometric style of the Dutch artist Piet Mondrian, a collection inspired by the Andy
Warhol's Pop Art prints. His enduring creation was Le Smoking, a sleek dinner jacket for women.
He combined design and retail with a chain of ready-to-wear boutiques called Saint Laurent Rive
Gauche. In the late Fifties the straight up and down sack dress by Dior and Balenciaga paved the
way for tunics and mini-dresses, and women rejected wide skirts for pencil skirts and nipped-in
jackets. Yves Saint Laurent at Dior, Balenciaga, Pierre Balmain and Givenchy were all still forces to
be reckoned with, but couture as a commercial venture was slowly dying a death.
Across the Channel, however, Mary Quant launched the mini-skirt from her King’s Road boutique
Bazaar, propelling fashion into a new era and setting the seal on London as the new fashion centre.
The mods’ neat, Italian style inspired her minimal, square-cut designs. Her child-like tunics were
echoed by André Courréges in Paris, who was also going short, but in a more robotic, Space Age
style. From then on, there was no stopping the mini; hemlines just could not Stop creeping up the
leg. In 1983 The Times serialised retailer Barbara Hulanicki’s book From A to Biba. She wrote: ‘Every
week | thought that we surely couldn't shorten them any more, but magically there were a few odd
inches to go.’
The transition from New Look to the girl-child in her mini tunics of the late Sixties is similar to
the changes between the Belle Epoque and the Twenties. The curvaceous, womanly
corseted
silhouette once more gave birth to a look of adolescent androgyny and a driving ‘youth culture’.
This
time around the new look was epitomised by Lesley Hornby, the model better known
as Twiggy.
 Beatlemania, the pill, wage packets, television, the space race to the moon — everything
was
building up to give greater strength and power to youth culture in the mid-Sixties. The
world was
opening up before them. Instead of operating under ground, the new ‘Bright Young Things’ were
, about to take over and influence the mainstream. In Swinging London, ready-to-wear labels
were
being set up by young men and women to serve their peers, among them Thea Porter, Foale & Tuffin
and Ossie Clark for Quorum. London’s young designers shunned the trends from Paris and did their
own thing. Boutiques sprang up everywhere: Bazaar on the King’s Road, Biba on Abingdon Road,
Lady Jane in Carnaby Street. New York brought the influential shop Paraphernalia and Paris snapped
up Dorothée Bis. ‘All classes mingled under the shop’s creaking roof... Their common denominator
was youth and rebellion against the Establishment. Young working girls, the beat offspring of
aristocratic families, stars and would-be stars,’ wrote Hulanicki.
The Sixties were a time of rebirth, of experimentation. People were excited about the Space Age
and all things futuristic. Designers began experimenting with new materials. In the USA, Rudi
Gernreich’s research into stretch fabric led him to design topless swimming costumes for the liberated
woman who wanted to let it all hang out. In Paris, Pierre Cardin experimented with plastic and came
| up with his own fabric, Cardine, for his stiff dresses. Mary Quant used PVC for her wet-look rainwear

and there was a brief trend for disposable paper knickers.

The long, sweeping maxi-coat and the trouser suit took off, but the accepted dress for formal
occasions was still a skirt, however short. In 1966 society girl Jayne Harris was barred from entering
the Royal Enclosure at Ascot for wearing a white trouser suit. After a quick change in daddy’s Rolls-
Royce she returned wearing a buttock-skimming micro-mini-dress and was admitted.
The loud prints of Emilio Pucci, Emanuel Ungaro, the fluid Art Nouveau romanticism of the Biba
style and bright colours peacock-flaunted on Carnaby Street were slowly pushing fashion out of its
geometric confines. Fashion was about to turn on, tune in and drop out.
492 Mini s and Mo ds
 Minis and Mods 493
Pierre Cardin “Vy
designed this
voluminous scarlet
draped-back coat
(opposite, left) and
tweed suit in 1957
(right) for his first
womenswear
collection. This
1958 day dress in
grey alpaca by
Christian Dior
(opposite, right) was
in the style
nicknamed the
‘sack’. Sack dresses
were originally
considered
unflattering and ugly
but were a
transitional style that
bridged the change
from curvy Fifties
shapes to the
square-cut silhouette
of the up-and-
coming Sixties.
d Mods

Singer Cliff Richard

jives with dancer
Doreen Freeman at
Elstree Film Studios
in Hertfordshire, just
outside London, on
New Year's Eve,
1958. Wide, circular
rock ’n’ roll skirts
such as this one
were worn by
fashionable young
women at the end o
the decade, and
were held out by
wide nylon
petticoats.
 Minis and Mods 495

American crooner Frankie Avalon works out the new steps of the hip Californian dance ‘Malibu Beat’ with
the cast of the film Muscle Beach Party, 1964. Surfing had become synonymous with American youth
culture in the 1950s, and in the early Sixties the songs of groups such as the Beach Boys seemed to be
entirely devoted to the sun, surf and to endless summers. Here, the bright striped clothing and bleached
hair hint at the surf culture and show the rising popularity of resort-style casualwear.
496 Minis and Mods
 Minis and Mods 497

In the 1960s the King’s Road, Chelsea, was the haunt of the mods, a group of sartorially aware young men and women
who rode Lambrettas, danced to jazz and wore neat, Italian-style clothing. Women wore short skirts or very tight hipster
trousers. The fashion spread. Here, much further afield in 1963, teenage mods dance ‘the Stomp’ in a Sydney nightclub
(opposite). Girls cropped their hair and painted their faces to look pale, and influenced Mary Quant and the resulting
Sixties mainstream style. (Above) From the same year, girls dancing at the Cavern Club in Liverpool, made popular by the
Beatles and other Mersey groups.
 Minis and Mods 499

Third from the left at this 1965 audition

is British actress Joanna Lumley; four
years later she would receive further
recognition as a Bond girl in On Her
Majesty's Secret Service. The women's
sleek mini-dresses, which still hovered
near the knee, had not yet given way to
very short tunic-style dresses. This picture
shows some of the fashionable haircuts of
the Sixties, from crop, to back-combed
beehive, to long, fringed hair brushed flat.
500 Minis and Mods

In a celebrity line-up
for a Variety Club
Junch in 1965,
singers Cilla Black,
Petula Clark and
Sandie Shaw pose
for the camera in
Lolita-style outfits.
The bonnet-style
hat, Peter Pan
collars, André
Courreges-inspired
Mary Jane cross-
strap shoes and
Empire line short
dress demon-strate
the Sixties trend for
clothes reminiscent
of childhood. The
style was promotec
by designer Mary
Quant and sharply
contrasted with the
grown-up fashions f
the 1950s.

r
e A

?iy
ae
 Minis and Mods 501

Beatle John Lennon,

wearing a Mary
Quant (woman’s)
hat, waits with his
wife Cynthia at
London Airport in
1964. Butcher’s boy
sectioned hats with
peaked brims like
Cynthia’s were worn
in soft synthetics,
naturals and shiny,
futuristic PVC.
502 Minis and Mods

=
e
-
g
a
=
He
appear 4 Hb
wad
ae

Leopard skin-clad actress and singer Barbra Streisand attends a Chanel catwalk
show, 1966. Richard Avedon, the much-féted fashion photographer, peers over
her shoulder, Buckles on bags and shoes were now popular and shoe designer
Roger Vivier's pumps with tortoise-shell, mother-of-pearl or metal buckles had
a
major influence on mainstream fashion.
 Minis and Mods 503

French film star

Catherine Deneuve,
seen here with her
husband, British
fashion photo-
grapher David
Bajley, wears a
1966 white trapeze
line coat. Double-
breasted coats such
as this, with two
rows of buttons in a
military style, were
worn over a
matching sleeveless
shift dress or skirt
Or a modern take on
he suit. White and
silver were
considered the
ashionable colours
of the era: they
symbolised looking
orward to a modern
and futuristic world.
504 Minis and Mods

Julie Christie
became a style icon
during the Sixties
and she won an
Oscar for her role in
the John Schlesinger
movie Darling in
1965. Her loud
print dress illustrates
the craze for patterns
of the late Sixties
that was to continue
into the Seventies.
 Minis and Mods 505

Aristocratic Sixties model Veruschka von Lehndorff starred as herself in Michelangelo Antonioni’s
1966 shock-factor film Blowup which parodied the freewheeling existence of Sixties photographers
and their models. David Hemmings’ character was based on photographer David Bailey and the
film documented the Space Age costumes worn by the fashionable, and daring, few at the time.
These models played themselves in the film and costumes were designed by Jocelyn Richards.
506 Minis and Moc

ieRecerrananeisian
 Minis and Mods 507

This curvy tweed suit of 1964 from Wallis (above, left) cost only £3 and was available in pink and navy or amber and
scarlet. Also from 1964 comes a washable rose-pink ‘super-mac’ with glass buttons by Boussac (opposite, left). Synthetic
macs, particularly in PVC, became increasingly fashionable in the Sixties. This 1964 navy crepe sheath dress (above,
right) is by Pierre Cardin and is teamed with schoolgirl beret in navy felt. Berets and pillbox hats were designed to be
worn perched on top of geometric hairstyles. The spring/summer 1966 white, square-cut twill coat (opposite, right) is by
Giuseppe Mattli, who stopped his couture line in 1955 but kept on his ready-to-wear until the early Seventies.
508 Mini and Mods
 Minis and Mods 509

This children’s-style
shift (opposite) in
blue or pink and
white checked
cotton with a white
pussy-cat bow in
organdie is by
Bernshaw and cost
just over £4 at the
nexpensive Dress
Department at
London's Army &
Navy Stores in
1963. Jean Muir's
more grown-up,
belted rayon jersey
dress in navy (right)
was more expensive,
at over £18. Muir
produced her first
collection in 1966
and worked
predominantly with
fluid fabrics such as
suede and jersey,
achieving a look
more synonymous
with Seventies rather
than Sixties style.
510 Minis and Mods

ee ; j ; : oe, Christine Keeler

: arrives at court in
August 1963 at the
height of the
Profumo affair.
Keeler created more
than a whiff of
scandal. She was
alleged to have
endangered nationa
security by sleeping
with both the British
Secretary of State fo
War, John Profumo
and a Soviet naval
attache. Her trapez
skirt and tunic top
are more casual
than a suit, and
lace-up fastenings
such as these wou!
be made popular
with Yves Saint
Laurent'’s safari-styl¢
designs and were
later taken up by th
hippie movement.
 Minis and Mods 511

Jackie Kennedy, America’s First Lady, wears an outfit by French-born, American-based

designer Oleg Cassini to visit the Queen in 1962. By now, Jackie was a style icon, known
first for her elegant and minimalist trapeze-style suits, gilt-chained handbags, shift dresses in
pale colours and, later, for her large, round Jackie O’ sunglasses. She brought pillbox hats
back into fashion (hers were by Halston) and many women copied her full hairstyle.
 Minis and Mods 513
Yves Saint Laurent's
1965 line of dresses
inspired by Dutch
painter Piet
Mondrian was
widely copied (right)
and set the tone of
the Sixties with their
sharp horizontal and
vertical lines printed
on a square-cut shift
dress. Saint Laurent
set up Rive Gauche,
his ready-to-wear
boutiques, in 1966,
_and (opposite, right)
the actress Catherine
Deneuve poses in
his Paris boutique in
one of his modern
black dresses. For
the summer of 1965
Deneuve wears
Space Age white
(opposite, left); her
flat, equally Space
Age white boots in
PVC or leather,
made fashionable by
André Courréges,
were often teamed
with mini-skirts.
514 Minis and Mods

A more formal suit

in heavy white liner
from the Boutique
Collection by Yves
Saint Laurent, 196¢
(left), contrasts witt
his informal mini-
skirt, thick tights
and striped jumper
of 1966 (opposite)
Saint Laurent
himself seen outsice
is his newly opene
Rive Gauche
boutique. Stretch
tops, knits and all-
in-one jumpsuits
were often hooded
a style which hinte
at space helmets
and a unisex style.
Minis and Mods 515
516 Minis and Mods

(Above) In a scene from the classic 1960 film La Dolce Vita, Anita Ekberg makes an arrival. (Opposite,
clockwise, from
top left) Elizabeth Taylor strolls in Rome's Piazza Navona in 1962, sporting a Fifties resort-style
look; Princess Grace of
Monaco (formerly the actress Grace Kelly), accompanied by her husband, carries an eponymous
Kelly bag by Hermés.
Motown group the Supremes arrive at Heathrow Airport in 1965 with glamorous furs to
ward off the chill of an English
spring day; Gina Lollobrigida chooses a feminine day dress in 1960. Leopard skin was a
hallmark of Christian Dior, and
spike heels and pointed shoes were still in fashion in the early Sixties.
 Minis and Mods 517

a)
hard res
518 Minis and Mods

Actress Linda
Christian takes
coffee on a
summer's evening in
Capri in 1958. Her
printed puffball-style
skirt, with its hem
pulled under and up
rather than sliced
off, is a style that
was to come back
into fashion during
the 1980s. Yves
Saint Laurent
created a puffball,
‘Barbaresque’
evening dress for
Dior. At the end of
the Fifties, designers
were experimenting
with volume, with
billowing backs on
coats, loose bat
wing sleeves on
dresses and puffed-
up bodices.
 Minis and Mods 519

April in Paris. Jackie

Kennedy smiles for
the camera at a ball
at the end of the
Fifties. Popular
evening dresses of
the time were
strapless and caught
under the bust, in
the Empire line
style, either with a
small, flat bow or a
more exaggerated,
billowing bow. The
dresses were fitted
and wide-skirted at
the back, but a great
tuck of fabric was
caught up at the
front, as if by the
bow, and it flowed
straight down from
there to the floor,
with no suggestion
of a waist.
520 Minis and Mods

Italian designer
Valentino Garavani
opened a couture
house in Rome in
1959 and quickly
became known for
his elegant, feminine
and flattering
clothes: his label
survives into the
21st century.
Valentino's fluid,
opulent, Eastern-
style over-tunic and
pleated chiffon
pyjama pants of
1966 (left) give an
evening twist to
wide palazzo pants.
British designer Johr
Cavanagh’s printed
silk evening pyjamas
from 1965
(opposite, left) work
with an over-layer of
chiffon rather than
with an under-layer.
A double jersey,
black Empire line
dress of 1963 is,
in contrast, svelte
and elegant
(opposite, right).
Minis and Mods 521
522 Minis and Mods
 Minis and Mods 523

A galaxy of film stars. (Above) Julie Christie, Ursula Andress and Catherine Deneuve look glamorous at the 1966 Royal
Film Performance. Quilted bags were a Chanel hallmark and Empire line dresses and white fur trims were popular for
bridalwear as well as for the evening. (Opposite, clockwise, from top left) Audrey Hepburn wears a white satin evening
dress in 1961; Elsa Martinelli, accompanied by Kenneth More, shows off the fashionable boat-shaped neck line in
1957; Gina Lollobrigida wears a frilled summer dress made popular by Christian Dior and a fashionable pillbox hat,
1965; Claudia Cardinale poses in an evening cape and dress in 1962.
524 Minis and Mods

Cathy McGowan,
fashionable
presenter of Sixties
television pop music
programme Ready
Steady Go, models
one of her own
clean-cut tunic
dresses in 1965.
The programme also
provided a forum
from which to show
off the latest
fashions. Aware that
designers waited
with bated breath
every week in the
hope that she would
wear one of their
outfits, Cathy
McGowan took
~Soo =
advantage of the
SES
BBU BBP gevterea j 52
SO tiers publicity
Jublicity 2generated
by designing her
own line.
rt)
BRBWArrene’
PET ries
BEBALA2Ge!
 Minis and Mods 525
ee]
Mary Quant accepts
the Society of
Industrial Artists and
Designers Medal for
1966, the same
year that she set up
her own branded
line of cosmetics.
Quant trained at
Goldsmiths College
of Art in London and
went on to open
Bazaar, her shop in
the King’s Road. She
graduated from
selling clothing to
making up her own
simple, child-like,
brightly coloured
tunics, as seen here,
and soon became
one of the stars of
1960s ‘Swinging
London’.
5 9 6 Minis and Mods

Designers also
magnified the
intricate black and
white Op Art
patterns, so that
sometimes all that
remained were large
panels of black and
white decorating
dresses or coats
The simple shape of
a wool jersey dress
by Naka of Milan at
the Italian Knitwear
Show in 1966 (left)
is emphasised by
the black and white
lines. Black and
White come together
as singer Cilla Black
(real name Priscilla
White) models a
geometrically
patterned day dress
(opposite).
Minis and Mods 527
5 9 8 Minis and Mods

American
manufacturer Larry
Aldrich
commissioned Op
Art-style fabrics,
heavily influenced
by artist Bridget
Riley, from textile
designer Julian
Tomchin to make up
into clothing. Sixties
designers such as
Ossie Clark and
Pierre Cardin
included the black
and white geometric
motifs in their
collections. This
evening dress for
autumn/winter 1965
is by Roberto
Capucci. The semi-
psychedelic motifs
were revived for the
second ‘Summer of
Love’ and the Acid
House movement
in 1988.
 Minis and Mods 529

This 1966 Italian

cduture dress in the
Op\Art style is also
by Raberto Capucci.
The wide sleeves of
the dress were very
much a mid-Sixties
trend for
eveningwear and
bridalwear. Trouser
suits and long
dresses, as well as
mini-dresses, were
still popular evening-
wear Styles.
530 Minis and Mods

A fake oilcloth coat

is promoted here as
eveningwear for the
Christmas party
season of 1962.
Synthetic PVC,
dracon and vinyl
clothing was more
commonly worn for
daywear, and hip-
length PVC ‘scooter
jackets’ were
particularly popular.
Such materials had
never before been
considered suitable
for casual clothing,
and some clothing,
or ‘body-armour’,
was even made of
moulded synthetic
materials which set
hard when finished.
 Minis and Mods 531

Mary Quant set a

trend for PVC
clothing when she
developed wet-look
rainwear. This black
wet-weather oilskin
outfit of 1963,
which includes
matching
accessories, still
sports children’s-
style Peter Pan
collars. Quant
adopted a cartoon-
style daisy for her
logo; it would
become a hallmark
of the age and
influenced the
coming Flower
Power revolution.
 Minis and Mods 533

Shops like Biba and

Bus Stop were big
hits in London, as
was Irving Sellars’
boutique Mates in
Carnaby Street,
which catered for
both men and
women.

ASAnta
as
ats
eng
Atta
xebs
tt
ii

4
ak
534 Minis and Mods

French summer resortwear from 1958 by Boussac is modelled on a London street (above), showing how
the wide coats and dress shapes of formalwear couture could be translated into informal beach clothes and
combined with shorts and capri pants. (Opposite) Model Maggie Auld wears a daringly sheer, white lace
dress over a white bikini from Christian Dior's 1966 spring collection. The same year saw a trend for short,
revealing micro-dresses in white lace with flared cuffs set on three-quarter length sleeves.
Minis and Mods 535
536 Minis and Mods
 Minis and Mods 537

Bikini-clad holiday-
makers outside the
Carlton Hotel in
Cannes in 1958
enjoy a glass of wine
(opposite), and
Bianca Volpato
soaks up the rays in
a lilac bikini on
Capri in the same
year (right). In the
late Fifties and early
Sixties bikinis were
worn slung low on
the hip, and had
detachable halter
neck straps or
strings which tied at
the back of the
neck. Flip-flops,
straw bags and
straw hats or
headscarves
completed the
essential beach look.
538 Minis and Mods

Eternal French pop stars Johnny Hallyday and Sylvie Vartan escape from the
church by a side door after their wedding in April 1965 in order to avoid the
press. Separate hoods or scarves worn with wedding dresses were alternatives
to veils at the time, and more radical bridalwear included fur-trimmed mini-
dresses worn with white boots and a fur-trimmed bonnet,
 Minis and Mods 539

Fashion model Carol Chilvers marries fashion photographer Frank

Sweeney in June 1966. Her maxi-coat or dress worn over trousers, with
a pillbox hat rather than a veil, was an unconventional approach. The
bride’s sister Marilyn even wears Bermuda shorts rather than a skirt or
dress, her bonnet adding the final, fashionable touch.
540 Minis and Mods

Hats for women. (Left, left to

right from the top) A man's cloth
trilby by Pierre Cardin for women
in 1962; a cheeky butcher's boy
cap from 1963; Baroness
Thyssen, the former fashion
model Fiona Campbell-Walker,
chooses a fashionable down-
turned brim hat from 1963.
Headscarves, hoods and
bonnets were also popular:
Elizabeth Taylor wraps her head
up in 1962. In 1966 Space Age
felt helmet hats were offered by
Pierre Cardin, and in 1962
Claudia Cardinale chooses a rair
hat style in felt with a softened,
waved brim.
 Minis and Mods 541

By the mid-Sixties,
hats were expected
to be worn only for
formal occasions
such as weddings
and at the races;
they were therefore
used to make a
fashion statement.
During the Sixties
hats generally had
short, down-turned
brims and an
elongated crown like
a beehive hairsiyle;
berets, caps, rain
hats and
headscarves could
be popped neatly
over fashionably
short hair. This
mock-croc hat of
1963 is by Chez
Elle and was
available from
Harvey Nichols Little
Shop.
542 Minis and Mods

Hairdresser Vidal
Sassoon’s

basin style was, in

every sense, at the
cutting edge of hair
fashion, and was
initially worn by
Mary Quant
Sassoon also
developed the 1963
‘Nancy Kwan’ cut, a
bob that was cut
short at the nape of
the neck. This
icture shows the
fashionable
whitened face, pale
ips and
exaggerated, over-
made-up eyes with
alse eyelashes that
were important
make-up trends.
Boyishly cropped
hair was now as
fashionable as it had
been in the
Twenties. Twiggy
ook up the look, but
some women just
covered up their
ong hair with short
wigs.
 Minis and Mods 543

Jean Shrimpton
shows off her ‘sun’
hairstyle, designed
by Parisian hair
stylist Carita, in
1965. The
‘Shrimp’s’ long,
straight tresses were
much imitated, and
women also built
their hair high up on
heir heads, using
back-combing or
hairpieces pinned
with bows for a late
Fifties and early
Sixties look. The
high styles were
hen set and sprayed
to ensure that they
would not collapse.
544 Minis and Mods
 Minis and Mods 545

(Above). Mary Quant has her hair cut in 1964 by Vidal Sassoon, the most fashionable hairdresser of the Sixties, in the
famous five-point cut which she made her own. Others had their favourite styles. (Opposite, left to right from the top) In
1966 Jean Shrimpton keeps her hair long; Elizabeth Taylor goes for a more full-bodied style in 1960; Twiggy looks child-
like in a crop. Veronica ‘Ronnie’ Bennett from the Ronettes has a beehive style in 1964; singer Alma Cogan goes for the
full-bodied, short style in 1962; actress Tippi Hedren piles her hair high up on her head in 1963; singer Dusty
Springfield holds onto her back-combed hair in 1964; and Diana Ross, lead singer with the Supremes, goes for big hair
in 1965.
 8 The Daisy Age
1967-1978

WM
Me
Hee
ret
A
O

eyo-

‘Make Love Not War’ became the mantra of the flower children of the Sixties and Seventies. The
‘Love’
sunglasses and CND logo dress of 1967 were for those who felt the need to make a sartorial,
anti-aggression
statement. The clean cut of the dress and the model’s cropped hair are more early Sixties
mod style than
flower child. 1967 may have been known as the ‘Summer of Love’, but a month before
this picture was taken
an anti-war demonstration outside the Pentagon, Washington, DC, had escalated
into violence, resulting in
some two hundred and fifty arrests.
8 The Daisy Age
1967-1978

Free your mind and your clothes will follow. The Summer of Love, Jimi Hendrix, Vietnam protests,
bra-burning and LSD. Flower power and psychedelia swept up the baby boomers in a stream of pot
smoke. Man was about to walk on the moon and anything, it seemed, could happen. Fashion
rejected geometric futurism for a longer length, romantic style. Retailer and designer Carole Austen
was quoted in /nternational Textiles in 1970: ‘As far we can see we will have a mixture of casualness,
fluidity and fantasy.’
The world was shrinking fast as air travel became more affordable. Western society became more
aware of its place in a multicultural environment. Designers played with global references, Kenzo
with his native Japan and Yves Saint Laurent with Africa and China. Souvenirs from the hippie trails
soon worked themselves into women’s wardrobes: shaggy Afghan coats, Indian cheesecloth shirts,
South American ponchos and patchwork gypsy skirts.
Womenswear was flamboyant and menswear was not far behind. Zandra Rhodes and Ossie
a
a

Clark dressed women in yards of printed chiffon so that they resembled psychedelic butterflies. Pop
stars set the trends. David Bowie was performing in full glam rock outfits and boys were now allowed
to strut their stuff. A 1967 extract from The Ossie Clark Diaries (1998) reads: ‘Brian Jones and Keith
[Richards] took to wearing the silks and satins printed by Celia and the skin-tight jewel coloured
trousers from a stash of pre-war corset satin AP found. | made men’s shirts with frills in chiffon, in
crepe, with a one-sided collar, a leather jacket metallic with blue snake. Marianne [Faithfull] bought
a suede suit trimmed in python with a fluted peplum and never asked the price.’ Unisex flared jeans
and T-shirt became a street uniform, men and women grew their hair and girls now wanted trousers
rather than skirts.
The individual was free to choose from a myriad styles. The new trends kept on coming: minis,
maxis and midis; harem pants, hot pants and velvet knickerbockers. Second-hand no longer meant
second-best. In London, boutiques such as Granny Takes A Trip encouraged the modern woman to
raid the past and create her own look. The British high street also offered cheap alternatives to
designer clothes, Laura Ashley with its crisp cotton peasant style and Biba, which had by now moved
to a large store in Kensington, with bohemian romance in crushed velvet.
When punk gobbed its way down the streets of London and New York it traded on the shock
factor for attention. Women wore tight leathers, leopard skin, and bondage trousers and either
stomped around in their Doc Marten boots or strutted in stilettos. Bodies were pierced, hair was
shaved, dyed and spiked and everything was customised with chains, paint and safety pins. Punk
still stands out as one of the best granny-shocking movements of the century. Vivienne Westwood

and Malcolm McLaren were the puppeteers of punk, selling the clothes from their King’s Road shop
Seditionaries and launching the Sex Pistols, who provided the soundtrack for the movement.
Inevitably, punk hit the catwalk: in 1977 Zandra Rhodes did designer safety pins.
In the late Seventies designers moved from the theatrical to the practical. A new wave of ready-
4,
to-wear designers began to offer an antidote to fussy, over-the-top designs. Jean Muir designed
minimal jersey pieces in London; Sonia Rykiel sold stylish knitwear in Paris; and in Italy Giorgio
Armani offered basics for the working woman. In America, Calvin Klein and Ralph Lauren launched
designer jeans and Halston did sleek jersey trouser suits and dresses. Milan had now established
itself as the fashion capital of Italy, with its signature luxury sports style, fine furs at Fendi and
elegance at Valentino. Designers such as these were offering women versatile, modern wardrobes.
Fashion would shed its psychedelic skin and move on to the Eighties, taking with it these basic,
modern concepts.
550 The Daisy Age

Modern uniforms
live up to the Sixties
reputation. Pierre
Cardin presents his
new designs for
nurses’ uniforms in
the hospital unit at
Boulogne in 1970
(left). Even harder to
believe are these
mini-dressed
hostesses working
on British Rail’s
Advanced Passenger
Train in 1972
(opposite). Have
they perhaps
forgotten to put on
their trousers?
The Daisy Age 551
552 The Daisy Age

(Above, left) Designer Paco Rabanne shows a metal disc mini-dress, 1968. He also experimented with plastic, metal
and
leather for his chain-mail creations. Rabanne started his career selling extravagant jewellery
and plastic buttons to Paris
couturiers. (Above, right) French singer Francoise Hardy apparently laboured for over an hour
to put on this all-in-one
outfit of linked metal pieces in 1968. Boilersuits for marching women were not the only all-in-one
option: streamlined
jumpsuits and catsuits were made in more luxurious fabrics and could look both sexy and
glamorous.
 The Daisy Age 553

(Above, left) Pierre Cardin uses clean, easy lines to create a modern Space Age suit in powder grey. Cardin had moved on
from the short mini-dresses of the Sixties and taken up the new long silhouette of the Seventies for his 1972 collection.
Skullcaps from the Thirties were revitalised, and cut-out panels, such as the one on the pocket, were a Cardin trademark.
White and silver were the modern, futuristic colours of the 1960s. Here (above, right) Moscovite Galina Milovskaya
models Russian-designed silver leggings and a red fox fur jacket in 1968.
554 The Dais
 The Daisy Age 555

A leather chain-mail
coat designed by
Paco Rabanne,
1967 (opposite).
The dress (right), in
a children’s style
from the late Sixties,
is-by André
Courréges and is
combined with mary
Jane shoes, which
were originally
designed for children
before being adopted
as an adult style.
The calf-length
socks created the
same silhouette as
fashionable white
boots, for which
Courreges is
renowned.
556 The Daisy Age

ie
“%
.°
¢
eSry
SePe
=
2
=
° 8
ce
Se
Cpeees
Se
i
sat expences

Shorter and shorter skirts were now being worn every day (above), and the dress on the
right follows the baby doll nightwear style. This picture shows British actress Maureen
Lipman (left) and fellow members from the cast of the 1967 film Up The Junction.
(Opposite) Sixties super-model Twiggy shows how a classic shirt dress from her own
collection, with its raised skirt and long collars, can be made to look modern in 1967.
The Daisy Age 557
558 The Daisy Age

es
ee
CO
ee
ee

epi
ee

Pierre Cardin waits with his models at his autumn/winter fashion show of 1971.
Cardin was renowned for his dramatic but clean designs. During the 1960s he
designed tight leather trousers and bat wing trousers, and tabard tops to be worn
over trousers. As well as haute couture, Cardin produced ready-to-wear collections
which he sold through his boutiques, first Eve and then Adam.
 The Daisy Age 559

Even though Cardin’s face is hidden behind a bizarre aluminium mask, Elizabeth
Taylor seems happy enough to try and strike up a conversation. Her elaborate
headdress is made up of orchids and lilies punctuated with silver spikes. Before
opening his couture house in 1957, Cardin had run a business providing
costumes for fancy dress balls and the theatre.
560 The Daisy Age

André Courréges
designed this blue
‘cosma’ jacket (left)
studded with silver
spangles for 1974,
a softer style
altogether than his
earlier stark, Space
Age looks. He took
his influence from
the male wardrobe,
and the slouchy
comfort of this outtfi
has the easiness of
a man's jacket and
trousers. For 1973,
Paco Rabanne has
also changed tack:
this body armour
coat (opposite) is in
macrame-look
leather links for a
‘crafty’, natural look
more in line with the
Seventies ethos.
The Daisy Age 561
562 The Daisy Age

Barbara Hulanicki (opposite) was the inspiration behind Biba, the influential boutique which offered
women cheap clothes in a romantic, Art Nouveau style, including wide-brimmed hats and long, fluid
trousers. Starting as three small shops, in 1973 Biba expanded into a department store in Kensington
High Street but its success was short-lived; by 1975 financial problems had forced Hulanicki to shut up
shop. (Above) Bargain-hunters sort through feathers during the closing down sale.
le edt aia iinet
se
The Daisy Age
564 The Daisy Age
Jackie Onassis (née
Kennedy) leaves an
Athens nightclub at
seven in the
morning with her
husband Aristotle
Onassis, after
celebrating her
fortieth birthday
party. Empire line
dresses were often
worn for the
evening. Jackie's
short version from
1969 is decorated
with the bright
psychedelic patterns
so popular at the
time.
 The Daisy Age 565

Models for the Clothing Export Council in summer 1969 express their passion for Richard
Nixon in his bid for the American presidency. Although Dick was popular at the time, in 1974
he became the first President to resign, under threat of impeachment. The double-breasted,
high-waisted coat worn by the woman on the left became a wardrobe essential for women in
the late Sixties and Seventies, and was worn with square-toed shoes or knee-length boots.
566 The
 The Daisy Age 567
Brigitte Bardot
(opposite) takes a
break from her busy
filming schedule in
London in 1966,
while Claudia
Cardinale (right)
poses for the
cameras in Salzburg
in 1968. Mini-skirts,
boots and polo
necks were a Casual
uniform for daywear
and Italian design
label Missoni was
well known for its
striped, knitted
outfits. High-heeled
ankle boots and
cowboy boots were
also popular as an
alternative to
longer boots.

ze papas See DoEELEER

PageRank eresaseeeand
TESROSI eee
SESS
wiiereee esse eR RIED x aS Se
568 The Daisy Age

This 1972 velvet

coat, in a nostalgic,
children’s style, Is
worn with long,
striped, ribbed
stockings. Sheer
stockings were now
less fashionable,
and, when tights
were not worn,
stockings were often
ribbed and thick or
striped, with bold
geometric motifs.
 The Daisy Age 569

This 1970 student-

style outfit from_Paris
demonstrates the
trend for stripes,
crochet tights and
long student
scarves. In typically
Parisian style, the
look still manages to
be elegant, espec-
ially when compared
with the earthy
hippie looks coming
out of London and
San Francisco at the
same time. Paris-
based knitwear
designer Sonia
Rykiel designed
relaxed, elegant knit-
wear Separates and
experimented with
striped motifs, as did
the boutique and
label Dorothée Bis.
 570 The Daisy Age

Mini-skirts moved
+
further and further
= up the thigh, and
the one on the left,
from 1968, is little
more than a tunic.
This photograph
shows young
entrepreneurs Sarah
Buadpiece and
Debbie Torrens
a
sil
7
outside their
“e«
a boutique, To Jump
&
. Like Alice. Boutique
+
Ye mania spread during
+
4 as the Sixties, with
’
be
+ 8eer young people
+ opening shops to
Ke
‘es provide fashionable
$ clothing for their
' +h++
ie 4.4°. peers.
 The Daisy Age 571
In 1967, window
shoppers in the
King’s Road show
how to wear a
printed tunic: with or
without trousers.
Thigh-high boots
would be worn with
Robin Hood-style
tunic dresses four
years later, but here
knee boots make
what almost
amounts to a
gesture of modesty
when they are
teamed with such a
short skirt.
572 The Daisy Age

Before hemlines took the plunge with the maxi-skirt, mini-

skirts were getting shorter all the time. These racegoers
(left) brave Ascot in 1968 wearing very short dresses; a
year later (above) skirts had crept even higher. 1969 was
known as the ‘year of the micro-mini’.
 The Daisy Age 573

American actress Raquel Welch strides through Rome’s Spanish Square (above, left). Skinny-rib polo
necks and high necks were worn by both men and women with jeans or under a suit for a more formal
look. Actress Charlotte Rampling is seen here (above, right) in a high-collared, Edwardian-style shirt. On
the high street, shops like Laura Ashley and Mr Freedom offered women pretty clothes, some of them
reminiscent of Edwardian and Victorian underwear, and simple summer dresses in cotton and corduroy.
574 The Daisy A ge
 The Daisy Age 575
Jeanne Lanvin's
romantic summer
1968 wedding dress
(right) reflects the
idealised, pastoral
look so much in
demand at the time.
(Opposite, clock-
wise, from top left)
Show business
dresses up (and
down) for its
weddings. Actress
Sharon Tate marries
film director Roman
Polanski in January
1968 in a daringly
short mini-dress;
pop singer Lulu
emerges from the
church with new
husband Maurice
Gibb of the Bee
Gees in 1969. Fur
trims and bonnets
and scarves were an
alternative to a veil.
In the same year
singer Cilla Black
rejects traditional
white for a dark
velvet mini-dress for
her wedding to
Bobby Willis, her
personal manager.
Bianca marries Mick
Jagger in a white
trouser suit in St
Mropez ig 1971.
576 The Daisy Age
Exaggerated felt hats
such as this were
often worn with
scarves and gold
link chains tied
around the high
crown. The picture
from 1967
demonstrates the
fashionable Sixties
make-up of the time
pale lips and face,
heavy black liquid
eyeliner and fake
eyelashes.
 The Daisy Age 577
Mini, maxi or midi?
That was the
question in 1969 as
all three were
fashionable. Pierre
Cardin offered a
solution — a long
maxi-coat (which
could almost be a
dress) that flipped
open to reveal a
mini-skirt; hot-pants
could be worn in the
same way. In a
similar vein,
designers slashed
long skirts in strips
to the thigh so that
the panels flared out
to reveal the leg.
578 The Daisy Age
Ss Fashion model
Hazel, posing in a
London street,
shows off a crepe
playsuit with a
divided skirt,
designed by Ossie
Clark for the
summer of 1973.
Her platform shoes
make her legs look
even longer than
they really are.
 The Daisy Age 579
The multitalented
Mary Quant also put
her name on under-
wear, stockings and
footwear and had
started her whole-
sale manufacturing
operation, Ginger
Group, in 1963.
These shoes and
boots are from her
autumn 1971
collection. From left
to right: ‘Pin Up’, a
wedge shoe in grey
and cream;
‘Plantagenet’, a boot
in blue suede with
ribbon detailing;
‘Sprinter’, a wedge
heel, tie-front shoe;
and Jacob’s Ladder’,
a suede boot with
lace-up detailing at
the back.
580 The Daisy Age

A maxi-coat as wort
on a London street
in 1969. Maxis
were still worn with
mini-skirts but they
would soon be
paired with long,
flared trousers.
Military buckles
worn as fastenings
make references to
army greatcoats. Ths
pom-pommed, fur-
trimmed bonnet
marks the final
flourish of children’
style dresses during
the Sixties, and
similar hats also

\\i
appeared as
bridalwear.
4
\
{
 The Daisy Age 581

By 1969, Pierre
Cardin’s designs had
moved on to
embrace the new
longer length skirts,
but his style, as
shown here, is still
clean and minimal.
Throughout the next
decade Cardin
continued to play a
major part in
fashion. Accessories
such as the metal
buckles on the
models’ belts were
sometimes
incorporated into
mini-dresses during
the Sixties for a Star
Trek look.
582 The Daisy Age

As trousers and cuffs

flared, so did coats,
wraps and kaftans.
This elegant red
wool coat by Pierre
Balmain was
made for his
autumn/winter 1974
collection, and his
capes and wraps in
the Cossack style
were much copied.
 The Daisy Age 583

Capes and kaftans

offered a fluid
alternative to more
structured coats,
could be worn for
day or evening, and
would sit over a
long, flared skirt or a
pair of trousers. For
autumn/winter
1971, this wool
cape is executed in
deep maroon.
584 The Daisy Age

A ring on every
finger, singer Shirley
Bassey emerges
from her Aston
Martin clad in white
mink in 1970.
Never one to play
down her
appearance, her
style always exuded
affluence. Fur worn
in bands on coats
like this was also
popular at the time
for short bomber
jackets or knee-
length coats
 The Daisy Age 585

This more classic printed coat of 1969 (above, left) was

typically worn with a skirt or dress of the same length
underneath, and this student-style coat of 1970 (right) is a
shorter version of the maxi-coat. Combined with a knitted
scarf and hat, it offers a less extreme, more down-to-earth
style than the hippie look, and is reminiscent of outerwear
worn by Victorian children.
American pop star Marsha Hunt performing at the Isle of
Wight Pop Festival in September 1969, where Bob Dylan
was also playing. Afro haircuts like Hunt's became popular
with both men and women at the time.
 The Daisy Age 587

Elizabeth Taylor struts her stuff in a hot-pants suit, 1971. In 1976, American actress Jodie Foster played a twelve-
During the height of the trend, hot-pants were acceptable year-old prostitute in Taxi Driver. She wore large, round
for the office and were even worn at weddings, under a Jackie O’ glasses and a wide-brimmed, floppy hat, the
skirt split to the waist. fashionable, romantic accessories of the time.
588 The Daisy Age

Jeans could be
customised in many
ways. This woman
(left) has cut hers
down to hot-pants
and customised
them with studs for
the summer in St
Tropez in 1972.
Studded bracelets
and belts were also
fashionable, pre-
empting the punk
trend that would
come later. Hot-
pants, however,
were not always
flattering; these
tourists (opposite)
climbing the steps to
St Paul's Cathedral
in 1971 might have
been tempted to
cover up.
 The Daisy Age 589

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5 9 O The Daisy Age

Model Michelle
Tucker turns
mechanic for the
camera in 1971.
Her velvet hot-pants
have acquired a
dungaree-style bib;
others had straps
resembling braces.
Hot-pants, which
came into fashion in
1970, were the
short alternative to
the long skirts in
fashion at the time.
 The Daisy Age 591
Stewardesses
working for
Southwest Airlines of
Texas in 1972 had
to look good in hot-
pants and kinky
boots to get the job
in the first place. In
flight, they served
drinks with names
like Passion Punch
and Love Potion.
Long boots and
coloured tights were
often worn with hot-
pants, just as
they were with mini-
skirts, and boots at
the time sported
thick, square high
heels and
sometimes platform
soles.
592 The Daisy Age

Jean Shrimpton
signs a book of
protest against
British complicity in
the Nigerian—Biafran
War on Christmas
Eve, 1969. The
sometime girlfriend
of photographer
David Bailey, Jean
Shrimpton became,
with Twiggy, one of
the faces of the
Sixties. Here her
small frame and
long legs are
engulfed in one of
the shaggy ‘yeti’
coats that were
particularly fashion
able at the time.
 The Daisy Age 593
1971 Women’s Lib
protesters parade the
housewife’s
shopping bag and
apron-form crucifix
during a 4,000-
strong march to No.
10 Downing Street.
The real hard-line
protester’s uniform
of choice was the
boilersuit, but these
Sa
women obviously
prefer furs, jeans ee

and double-breasted
coats with large
collars typical of the
Seventies.

RK LANE GARAGE
ee
ee
594 The Daisy Age

Women marched for their rights in 1971.

Afghan sheepskin coats, the leather
traditionally cured in urine, were originally
picked up on the Eastern hippie trail.
Scarves tied around the head, gypsy-style,
would be combined with long, patchwork
skirts. Hand-knitting and crochet, such as
these snake-like scarves and knitted
berets, were the reaction against the wipe-
clean PVC and smooth lines of the 1960s.
 :
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596 The Daisy Age

Actress Jane Fonda

drums up support at
an anti-Vietnam War
rally in Washington,
DC, in 1970. She
would later star in,
and win an Oscar
for, Coming Home, a
film about war
veterans returning
from Vietnam. Long
tie-dye and
psychedelic printed
scarves were loopec
around the neck,
worn as headbands
or just thrown over
one shoulder. She
wears a T-shirt,
which had been
adopted as
womenswear in the
1960s, but no bra.
Has she burnt it, in
true Seventies style?
 The Daisy Age 597

Feminist lawyer and politician Bella Abzug demands liberation

for women on a New York street in 1970. Capes, such as the
paisley one she is seen wearing in the photograph, were once
again back in fashion alongside more casual-style ponchos.
Both offered a more relaxed alternative to coats.
Daisy Age

Actress Edina Ronay

, later to
become a notable
knitwear designer,
struts her stuff at a
1968 film premiere.
Felt hats like the one
she is wearing were
also worn with high,
more exaggerated
crowns, or with
wider floppy brims
using flowers and
scarves as trims.
Blues/rock singer
Janis Joplin
(opposite) goes for
the full global,
androgynous hippie
look in the same
year with her Afghan
coat, long hair and
tasselled top.
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600 The Daisy Age

For once Julie

Christie eschews
glamour with her
earth mother-style
crochet blanket and
bedraggled hair. Her
bag is large and
chunky as befits the
times; other styles
included patchwork
leather, the most
luxurious in lizard
skin, large carpet-
bags and handbags
decorated with
wooden beads.
David Lean’s Dr
Zhivago (1965), in
which Julie Christie
played Lara, helped
inspire the trend for
rough-look
sheepskin jackets
and maxi-coats.
 The Daisy Age 601
Teenage pupils from
Holland Park School
in London get the
1971 look with
Afghan coats, wide-
sleeved tunic shirts,
basket-weave bags
and jeans. Blue
jeans had never
been more popular.
They were often
worn with bell-
bottoms, as seen
here, and combined
with a T-shirt for
casual dressing.
Popular brands
included Lee,
Wrangler and Levi.
The Seventies also
marked the birth of
designer jeans.
Gloria Vanderbilt’s
tight, buttock-
hugging white jeans
were particularly
coveted.
602 The Daisy Age
Twenty-three-year-
old Ann Rochon
from Paris, in full
hippie regalia, waits
for a train at
London's Waterloo
Station, on her way
to the 1970 Isle of
Wight Pop Festival.
Her crushed velvet
trousers and
matching waistcoat
were worn by both
men and women ai
the time. Long
beads and Indian
jewellery, including
belly and ankle
chains, were
popular, as were
opulent Eastern
scarves like the one
she wears here.
Bag-belts were
introduced by Sonia
Rykiel and pocket
purses were
designed to button
on and off items of
clothing.
 The Daisy Age 603

A flower child sits it out at the Legalise Pot Rally in London's Hyde Park in 1967.
Flowers became one of the dominant motifs associated with the era, particularly
the daisies on this girl’s dress. Flower mania stemmed from the cartoon flower
motif adopted by designer Mary Quant as her logo, and psychedelic floral prints
soon appeared on skirts, dresses and shirts.
604 The Daisy Age
 The Daisy Age 605
T-shirts were worn
closely fitted to the
body (right), and
1920s skullcaps
and headbands
came back into
fashion again as
women adopted
flowing, layered
robes. These two
girls are at the 1969
Stones in the Park
concert, where Mick
Jagger, wearing an
androgynous white,
frilled shirt-dress,
released thousands
of butterflies in
memory of the late
Brian Jones.
(Opposite) Hair was
parted in the middle
and worn long by
men and women
and jeans were
customised with
paint, appliqué and
patchwork.
<a Bx, a
 The Daisy Age 607

Peace, love, and the hippie trail flung Indian yogis

and meditating in ashrams into fashion. Thin
cheesecloth tunic shirts, long, embroidered skirts and
strings of bead were just some of the fashions
brought back and adopted from India. This seminal
photograph (left) taken at Rishekesh in India in 1968
includes (from left to right) Pattie Boyd, John Lennon,
Mike Love of the Beach Boys, the Maharishi Mahesh
Yogi, George Harrison, Mia Farrow, unidentified
person, Donovan, Paul McCartney, Jane Asher and
Cynthia Lennon. (Above) Actress Anita Pallenberg
wears a loose Eastern kaftan.
608 The Daisy Age

This 1969 outfit by

Angela Gore typified
the nostalgic English
country look targeted
at townees. Laura
Ashley, who started
out selling printed
scarves and kitchen
cloths, was best
known for her
country look. She
produced long,
pretty dresses in
flower prints and
pinafore dresses tha
could be worn over
high-necked shirts.
A wide floppy hat
would complete the
look.
 The Daisy Age 609

The whirling skirts of

this 1970 Miss
Selfridge maxi-dress
are in complete
contrast to the
geometric minis of
the 1960s. It was
available in black,
purple and brown
and cost £11. This
style of dressing was
known as the
‘Granny look’.
Shawls and lace-up
boots finished the
look. Wide’cut
kaftans and ponchos
offered a different
version of the long
flowing style, giving
more of a global
twist.
610 The Daisy Age

Designers borrowed
references from
around the globe
and produced
opulent, Eastern-
style embellished
and embroidered
eveningwear laced
with gold. Yves Saini
Laurent’s Russian
collection is
particularly
remembered for this
These fluid
sequinned and
embroidered gowns
(left) are from 1974
The house of Lanvit
produced this 1968
evening dress
(opposite, left), wit
a Sixties-style
Empire line cut, anc
couturier Ted
Lapidus designed a
more fluid version ¢
this look (opposite,
right) later in 1975
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612 The Daisy Age
 The Daisy Age 613

Pop stars and their girlfriends took to wearing matching or unisex outfits. (Above) John Lennon and Yoko Ono
wear white suits in 1969. (Opposite, clockwise, from top left) Rolling Stones guitarist Keith Richards wears a
three-piece suit, while girlfriend Anita Pallenberg looks as if she has borrowed his hat, 1971; Mick Jagger and
Bianca both wear skirts in St Tropez in 1971; three years earlier, Marianne Faithfull and Jagger sport velvet over
white shirts; in 1969 Rolling Stone Brian Jones and friend both choose belted, mid-tone coats.
614 The Daisy Age

eer A young Marie

Helvin poses in a
cotton kimono by
Tokyo couturier
Kansai Yamamoto in
1971, the year he
opened his design
house. Yamamoto
crossed traditional
Japanese dress with
Western clothing.
Together with Hanae
Mori, Yuki, Yohji
Yamamoto and Issey
Miyake, he
introduced Japanese
design to an
international
audience in the
1970s.

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 The Daisy Age 615

Emanuel Ungaro is flanked by models wearing pieces from his spring/summer 1971
collection. During the Sixties his sharp, angular designs set him apart from other
designers because he favoured bold prints and patterns, themes he has continued ever
since. Here Ungaro uses the popular flower power daisy motif and gypsy-style scarves.
Dashingly tall hats, like the one on the right, were very popular during the Seventies.
616 The Daisy Age
This fluid trouser
suit of 1968 by
Ossie Clark and
Alice Pollock is
accessorised with a
matching gypsy-style
headscarf. Celia
Birtwell, who
married Clark,
designed most of his
prints; often bold but
romantic, they had
names such as
‘Floating Daisy’ and
‘Lapis Lazuli’.
 The Daisy Age 617
The androgynous,
dashing cavalier look
swung into fashion
in 1970, and both
girls and boys could
now wear satin
rousers and frilled
shirts. Yves Saint
Laurent had
introduced velvet
knickerbockers and
rousers tucked into
ong boots such as
these (right) to be
worn in the
‘Cossack’ style,
teamed with wide
fur hats and sashes
tied at the waist.
The peacock print of
the frilled shirt is by
Sheila Hudson for
Thea Porter.
618 The Daisy Age
This swirling Art
Deco print dress of
1971 is by Jeff
Banks, who was
later to become
involved with the
highly successful
multiple retailer
Warehouse Utility.
Banks was known
for providing
fashionable,
affordable clothing
for women during
the Seventies. The
shirt and matching
handkerchief point
skirt cost £15 for
the pair.
 The Daisy Age 619
Bold prints, part-
icularly those with
psychedelic colours
and patterns,
became desirable.
Ossie Clark (with
prints by Celia
Birtwell) and Zandra
Rhodes were known
for their printed
designs. This tribal
pattern was
designed by Liberty,
and made up into a
button-through shirt-
dress and matching
scarf in 1969 by
Twiggy.
Fringes trailed off
belts, skirts and
waistcoats and
became associated
with the hippie
movement. This
1969 fringed trouser
suit called ‘Marisa’
(left) was designed
by Ossie Clark for
Alice Pollock's
fashionable King’s
Road boutique,
Quorum. (Opposite)
Model Kellie wears
‘Tour d’Argent’, a
1967 green Giselle
silk Grecian dress,
also by Clark. He
was known for
glamorous, fluid
dresses such as
this one.
 N
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622 The Daisy Age

The 1977 Christian

Dior ready-to-wear
collection is shown
in Paris. Marc
Bohan, now the
chief designer at the
house of Dior, is
particularly
remembered for his
1966 collection
which was
influenced by the
film Doctor Zhivago
By 1977 shirts were
no longer worn full-
length, and blouson
Style jackets and
smock-style tops
with wide sleeves
had come into
fashion.
 The Daisy Age 623

A quilted wrap coat

designed by Jules-
Francois Crahay for
Lanvin for autumn/
winter 1977. The
small, repetitive
prints on the quilt
juxtapose two
Seventies trends:
Eastern prints and
fabric and the
Victorian, Laura
Ashley-style small-
sprigged motifs. The
Afghan-style scarf
wrapped around the
head borrows from
the East.
624 The Daisy Age

Yves Saint Laurent outside his Rive Gauche shop in September 1969
with model Betty Calroux and muse Loulou de la Falaise. All three wear
safari-style clothes that have since become Yves Saint Laurent classics.
He launched his safari jacket in 1968, the same year that saw the
appearance of his see-through evening shirts.
 The Daisy Age 625

The safari look went

mainstream, and
designers and
manufacturers
started to use large
pockets on shirts
and dresses. This
button-up wool outfit
by Dejac from 1973
is not advertised as
a dress, but rather
as a versatile coat.
The shoes with their
animal-skin
markings complete
the jungle look.
626 The Daisy Age

All-in-one jumpsuits
and trousersuits
were flung into
fashion in the
Seventies. This
1973 outfit revives
the wide beach
pyjamas and
shoulders of the
1930s and is
designed by
Fernand Ledoux.
 The Daisy Age 627

The coffee-coloured
knickerbockers and
peplum bib top were
designed in 1973 by
John Bates for Jean
Varon, the company
he helped to set up
in '964. Bates was
the renowned
designer of the
provocative catsuits
and costumes worn
by Diana Rigg in the
popular British
television series The
Avengers.

SS ST
in pin-striped h,
1967. For evening
wear Yves Saint
Laurent created a
woman's
the dinne
which bi
known inter-
nationally as Le
king. The cut
is streamlined to
flatter the fem
silhouette. Le
Smoking is still
offered in
 The Daisy Age 629

Twiggy wears a
looser masculine suit
at London Airport,
Christmas 1967.
Ralph Lauren's
costumes for the film
Annie Hall (1977)
reintroduced women
to the notion of
wearing mannish
suits and borrowing
clothes designed to
be worn by men.

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het
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630 The Daisy Age
ae

Jackie Onassis goes for the Saint Laurent and Geoffrey Brigitte Bardot goes shopping in the Via Margutta, Rome,
Beene styles in 1970 with her safari-style coat jacket and in 1967. Trouser suits were now completely acceptable for
matching hipster flared trousers. By now, polo necks were both formal and informal occasions. In Britain, Foale &
unisex and were worn by everyone, just like jeans. Tuffin designed sleek trouser suits such as this one.
 The Daisy Age 631

Ursula Andress
leaves a shop in
Ganton Street, off
Carnaby Street in
London, where Foale
& Tuffin had their
shop. Tunic-shirt
trouser suits were a
more relaxed version
of the jacket and
trouser suit, and
consisted of an
open-neck shirt that
had to be slipped
over the head and
matching trousers.
The style was
popular as summer-
and holidaywear.
632 The Daisy Age

A grey astrakhan
shorts suit from
1971 is by Castillo.
Yves Saint Laurent
had brought velvet
knickerbockers back
into fashion, and
this outfit pays
homage to his style.
Opaque tights and
tight, black tops with
close-fitting hoods
gave the effect of a
leotard, a fashion
that would take off
later in the Seventies
with the disco trend.
 The Daisy Age 633

Marsha Hunt poses

in leather shorts and
unisex waistcoat in
1972. Wide sleeves
held in at the wrist
with a cuff continu-
ed to be popular
until the late
Seventies. Hunt was
an early member of
the cast of the
legendary musical
Hair, a hippie
vehicle that offered
audiences a canned
stage version of early
Seventies youth
culture.
634 The Daisy Age

This cool, white,

linen safari suit of
1973 has a blue
linen belt and
matching buttons. It
is designed by new
sportswear house
Knap. In true
Seventies style the
trousers sweep to a
wide flare. The safari
trend influenced
both men’s and
women’s clothing,
and the patch
pockets helped to
add a modern
edge to a plain
trouser suit.
 The Daisy Age 635

A skinny-rib jumper
with matching knee
breeches by Shar
Cleod for 1970.
Knits were cut tight
and smooth for men
and women, and
polo necks, ribbed
and plain, were
worn with both suits
and jeans. Trousers
were worn tucked
into boots, Cossack-
style, and knicker-
bockers were an
important trend for
day and evening.
636 The Daisy Age

Boots and shoes came in many guises. (Above, clockwise, from top left) Platform clogs inspired by
designs such as these from 1972 were to be revived by Gucci in the 1990s; platform shoes, particularly
open-toed sandals, were also favoured; novelty boots from 1970 — these bear emblems from the Beatles’
Yellow Submarine and pin-up Betty Grable — show the enthusiasm for customisation; and funk-style
snakeskin boots (from 1975) complemented the growing trend for snakeskin in clothing.
 The Daisy Age 637

Just as white
clothing was
fashionable, so
white boots were ithe
smart footwear of
the 1960s. These
are from the
‘Summer of Love’,
1967. Those who
did not go for the
hippie look could
stick a heel on their
flat, white space
boots for something
more elegant.
 The Daisy Age 639

These silver kid-

leather sandals of
1973 (opposite)
have novelty Perspex
heels for posing on
the dance floor.
Shoes with open
panels displaying
the feet and a high
ankle-strap were
worn for day and
evening at the end
of the Seventies.
Space Age, Star
Trek-style boots, into
which trousers could
be tucked Cossack-
style, were popular
for both men and
women. These boots
from 1972 are by
Pierre Cardin.
640 The Daisy Age

Tights were intro-

duced to women in
the 1960s as the
mini-skirt began to
render stockings
unwearable for all
but the most
provocative. By the
1970s tights were
the popular choice.
The mini-skirt put
the fashion focus
onto legs, and
Opaque, printed or
brightly coloured
tights replaced the
sheer stockings of
the 1950s. These
1975 tights are
promoted as
‘stockings with
built- in panties’.
 The Daisy Age 641

A picture
1
Sara
}
ae
reminiscent of the
romantic, purple-
haze style promoted
by Barbara
Hulanicki through
Biba. During the
Seventies underwear
was reduced to a
minimum. Stretch,
triangular, non-
wired, second-skin
bras were virtually
invisible under
clothing: they gave
support without
being obvious to the
eye. This bra has a
disco-style sparkle,
comes with
matching tights, and
was probably
designed for the
evening.
642 The Daisy Age

The veiled fox fur hood and

muffler (far, right) are designed by
Pierre Balmain for his winter
1975 collection, contrasting the
more exotic, affluent side of
Seventies fashion with the small
skullcaps popular at the time.
Jean Patou’s wide-brimmed mink
hat (centre, right) was promoted
to be worn for ‘luxurious safaris’
for autumn/winter 1972; this
sporting tweed hat by Carven
(above, right) was designed to be
worn over a scarf or snood for
autumn/winter 1974. Turbans
complemented the trend for
Eastern dress: this one (below,
right) from 1975 is constructed
from twists of astrakhan and
jersey.
The Daisy Age 643
644 The Daisy Age

Celebrity hairstyles influenced the high street, too. (Above, clockwise, from top left) Joanna
Lumley
(another Avengers girl) goes for the pudding basin cut. For the truly glamorous look, women
favoured long, waved tresses that framed the face with a mane of hair. Many black women gave
up
trying to straighten their hair and started to let it grow into more natural, Afro hairstyles,
as illustrated
by Marsha Hunt. Crimped hair became popular with disco babes of the Seventies.
 The Daisy Age 645

Jerry Hall goes for the disco diva look with her long, crimped hair
flicked over to one side and fluid jersey top. She and Mick Jagger
joined many other celebrities at the first anniversary of legendary New
York discotheque Studio 54 in the summer of 1978. For women,
shiny, glossed lips and shimmering fabrics were disco favourites.
 646 The Daisy Age

(Above, left) Sexy funk-style satin trousers like these from 1972 made use of wide,
flared trouser legs to draw attention to
the curvy second-skin fit at the hips and crotch. Funk style was pioneered
by African-Americans during the 1970s.
(Above, right) These flared, bell-bottom jeans, also from 1972 and worn
in St Tropez, have a pattern of tiny embroidered
Stars. Jeans were now being worn by everybody. These offer a naive, romantic
look when teamed with this white
Victorian-style top.
 The Daisy Age 647

American singers the

Three Degrees strike
a pose on a London
Street in 1974.
Their dressed-up
halter necks and
hip-hugging jeans
are much sleeker
than the popular
hippie look of the
time. The funky
Afro-style hair of
the girl on the left
is much more
exagger-ated than
the flat, long hippie
tresses. Flamboyant
funk style was
shown to best effect
in films like Superfly
and Shaft, and it
was predominantly
taken up by young,
urban black men
and women.
648 The Daisy Age

With the late Seventies came the disco style. Many disco clothes were sexy and tight-fitting, and shimmer, stretch and
shine and high-heeled sandals were evening essentials. (Above, left) Nina Ricci’s autumn/winter 1979 collection includ-
ed this outfit in bold fuchsia with just a hint of a shimmering sequin boob tube underneath. Expensive? It cost
£550.
More reasonably priced is Mary Quant’s 1978 fluid boob tube dress, ‘Shoe-fly-pie’, available at £38.90 (above, right).
 The Daisy Age 649

muslin for Christian Dior uses a sparkle effect that

(Above, left) Marc Bohan’s bold royal blue 1976 dress with gold lamé
on the dance floor. Other styles for evening included Turkish-style trousers caught with
would catch the flashing lights
Jean Patou’s tangerine crepe evening
bands at the ankle and embroidered, asymmetric tunics worn over tight trousers.
neat figure and would highlight a rich suntan.
dress (above, right) for spring/summer 1978 helped to show off a
650 The Daisy Age

Yves Saint Laurent

designed this
evening outfit with
its sheer ‘cigaline’
top for his
autumn/winter 1968
collection. Bows
(worn at the waist in
satin) and black
velvet (the fabric
used for this skirt)
were his signature
styles. Saint Laurent
designed practical,
powerful daywear for
the working woman,
but for evening gave
her more seductive
and alluring pieces.
At the time he was
regarded as a
modern-day Chanel
who broke
boundaries and gave
women a new
elegance.
 The Daisy Age 651

Fluid chiffons for

evening were also
adopted by the
house of Chanel.
This 1978 outfit
combines the disco-
cut, drop-waisted
dress with spaghetti
straps and a
billowing wrap. Coco
had died in 1971
but Chanel
continued to be
known for beautiful,
classic clothes. It
would not, however,
break the fashion
mould again until
1983, when Karl
Lagerfeld was taken
on as design
director.
652 The Daisy Age
Princess Lee
Radziwill, sister of
Jackie Onassis,
arrives with Rudolf
Nureyev at the New
York opera in 1974.
Chiffon was used to
create a fluid,
elegant layer for
capes, ponchos and
wraps to wear over
evening dresses and
pyjamas.
 The Daisy Age 653

(Above, left) Jackie Onassis wears a clinging jersey dress at a New York opening in 1977. Designer Halston, whose
clothes she wore, was experimenting with soft drapery and simple jersey pieces at the time. In keeping with the Thirties
revival, clutch bags were often carried for evening. (Above, right) The ‘Iron Lady’, British Prime Minister Margaret
Thatcher, softens her image by wearing a diaphanous soft jersey dress to a ball after the 1977 Conservative Party
Conference in Blackpool.
Nes we
apps ik
 The Daisy Age 655

Miss World beauty contestants parade in their

bathing costumes in 1973. Chunky, high heels
and platform shoes were popular at the time
and the women in this line-up undoubtedly
benefit from the extra height they give them.
Hipster-cut bikini bottoms, G-string bikinis,
halter neck swimming costumes with string ties
and costumes inset with plastic, Olympics-style
rings were all fashionable for the beach or pool.
656 The Daisy Age
 The Daisy Age 657

Aristotle Onassis
gets down with
actress Gina
Lollobrigada at a
Venice Film Festival
party in 1967
(right). Her long,
Orange crochet dress
creates a fluid line
for evening but is
not unflattering as a
streamlined, more
slimming under-
dress is visible
underneath.
(Opposite) At the
same party Baroness
von Thyssen (left)
stands beside
Capucine (centre) in
a clinging resort-
style trouser outfit.
658 The Daisy Age

Celebrity Sixties
model Veruschka
wears a brightly
coloured printed
pyjama suit as
Italian designer
Emilio Pucci makes
adjustments. Pucci
was known for his
printed silk pieces
and stylish resort
clothing, including
capri pants, casual
suits and slinky,
tapered trousers.
His career was
launched when
Harper’s Bazaar
photographed him
on piste wearing
ski pants he had
designed himself
and asked him
for more of his
designs. His prints
were to come back
into fashion for
summer 2000.
 The Daisy Age 659

Vibrant colours and prints were essentials for resortwear of the period, and this relaxed holiday outfit (above, left), perfect
for pulling on after the beach, plays with a bold trompe /’oeil effect, 1968. (Above, right) Sexy swimming outfits with
triangular cut-out panels and wrap-and-tie sections would sit somewhere between the bikini and the swimming costume.
High, rope-covered wedge shoes were worn for the beach.
660 The Daisy Age

Just as in the Fifties,

bikini tops and
swimming costumes
were worn with
matching
wraparound skirts,
which meant that
women could cover
up elegantly if the
sun became too hot
and did not need to
dress up to have a
drink in a beach bar.
All-over suntans, the
ae darker the better,
& GaN x ; were all the rage.
seer
 The Daisy Age 661

G-string bikinis,
which sat low on the
hip and could be
worn under hipster
trousers, came into
fashion and wide
sun hats were often
designed in the
same fabric as a
swimming costume
and matching wrap
sarong, 1968.
662 The Daisy Age

Sex symbol Farrah

Fawcett, star of
television series
Charlie's Angels,
relaxes in a white
smock-style shirt
and blue jeans (left)
Blue jeans and
white shirts or T-
shirts provided a
classless, unisex
look at the time. Her
long layered and
blow-dried hairstyle
was popular with
women who aspiret
to Seventies
glamour. Italian
knitwear company
Missoni, founded k
husband and wife
Ottavio (Tai) and
Rosita Missoni,
made fashionable
Striped and zigzag
jumpers, suits,
cardigan jackets ani
flowing dresses
(opposite). Their
style quickly took of
because it focused
on two major trends
of the time: fluidity
and bold patterns.
 The Daisy Age 663

es
Fs
664 The Daisy Age
 The Daisy Age 665

Punk set out to

shock; it was a
reaction against the
easy-going peace
and love ethic of the
hippies. Women
customised their
clothes with safety
pins, studs, razor
blades and paint,
and wore bold
make-up. Their
clothing was an
eclectic mixture; it
might include fetish-
style leather, rubber,
fishnets and cheap
underwear worn as
outerwear, combined
with tight jeans, T-
shirts, battered
vests, slashed school
blazers and school
ties. (Opposite) Fans
of punk band the
Sex Pistols show off
their customised T-
Shirts, and (right) a
punk fan at a Clash
concert in 1977
demonstrates punk-
style DIY jewellery.
666 The Daisy Age
a

Malcom McLaren, manager of the Sex Pistols, and Vivienne Westwood, who
designed and sold fetish clothing from her
shop SEX on the King's Road (it later changed its name to Seditionaries),
Westwood gave punks a studded and strapped
bondage collection in 1976. Her bondage trousers had the legs strapped
together like the underwear worn under a Poiret
hobble skirt. Westwood wears the famous Sex Pistols ‘God Save the Queen’
T-shirt that pokes fun at the Silver Jubilee. T-
shirts with pornographic images and even Nazi signs were worn by punks.
 The Daisy Age 667

Dancers on stage
with American pop
group the Tubes,
who toured Britain
with a series of
outrageous
performances, most
of which were
banned. Their fetish
and studded clothing
here demonstrated
the shock factor
appeal of the punk
movement, which
young British men
and women
appropriated.
 9 Dress to Impress
1979-1987

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Japanese designer Issey Miyake’s autumn/winter 1982 collection shows his almost architectural
sense of design:
his clothes relate to the body shape without following the body's natural lines. Miyake
was one of the designers
who made oversized, loose clothing popular in the Eighties, in contrast to the trend
for tight Lycra pieces. His
designs fuse Eastern influences from Japan with Western fashion references. In
the early Eighties, Miyake brought
fashion and architecture even closer together by creating clothing out of sculptural
wire that stood away from the
body and cast bodices of laminated polyester.
 9 Dress to Impress
1979-1987

Money, money, money. Money — lots of it - was what the Eighties were all about. Margare.
Thatcher and Ronald Reagan seemed to be running the world and a cut-throat consumerism hac
taken hold. Pat Sweeney commented in The Face in 1985 that the Eighties were ‘making a
religion of success, a cult of status, and celebrating affluence’. In fashion, logos and labels becam«
the ultimate status symbol. ‘Notice me and |’ll notice you, show me your designer labels and |’!
show you mine...’ wrote style bible /-D. If you could not afford the head-to-toe designer look the
accessories would do: a rucksack flashing Prada’s little triangle; a gold-chained quilted bag
boasting Chanel’s interlinked Cs. Drapers Record advised in 1986: ‘The height of chic is to cross
—
the couture with the casual... wear a Chanel jacket with jeans.’ Logo-splashed sportswear
was at
the forefront of fashion, and the style of hip-hoppers like Run DMC raised Nike and Adidas
to the
height of cool.
re
OS
s

The glittering faux opulence of television soaps such as Dallas and Dynasty epitomised
mid-
Eighties glamour. Paris fashion developed the look. Karl Lagerfeld brought Chanel bang
up to date
with his witty take on Coco's classic style. He piled on the gold, did Chanel suits
in denim and
towelling and used pearls the size of ping-pong balls. ‘It was just before the Stock
Exchange crashed :
in New York, before the Gulf War, before the recession and everything was
easy... there was no
shame in luxury,’ says Christian Lacroix. He saw a gap in the market for lavish
designs for women
who wanted to spend serious money, and in 1987 set up a couture house.
In the Eighties Japanese designers were hugely influential. Comme des Garcons,
Yohji Yamamoto
and Issey Miyake provided a fuss-free antidote to the excessive opulence of
the Parisian collections.
They played with sculptural wrapping and draping to make voluminous
shapes in monotone colours;
they pushed garment construction and fabric technology to the limits.
Miyake’s pleating and Comme
 des Garcons’ purposeful knitted-in holes to create ripped effects were revolutionary. Their minimal

approach helped to influence the head-to-toe black uniform of the street.

With the growth of new technology, trends began to move faster and became harder to pin down.
_ Fashion mutated and ideas ping-ponged between the catwalk and the street. Even that punk stand-
by, the Doc Marten boot, evolved: popular in the Seventies, it was raised to high-fashion status by
Comme des Garcons and Yamamoto and then went back on to the street as a shoe.
The New Romantic movement, whose members bopped away at London’s Blitz club in
highwayman frills and long dresses, was raised to high fashion in Vivienne Westwood’s 1981 Pirate
collection. But who influenced whom? With their roots in the Eighties club scene, a stream of young
designers including John Richmond, Body Map and Helen Storey made their names. Katharine
Hamnett offered ripped jeans and T-shirts stamped with ecological slogans and Jean-Paul Gaultier
put underwear over outerwear and women into power suits. Virtuoso designers such as John
Galliano and Vivienne Westwood delved into history's fancy-dress box to put a modern spin on old
techniques. Westwood created neo-Victorian ‘mini-crinis’ and Galliano revived Thirties glamour with
his sleek bias-cutting.
With Margaret Thatcher, the ‘Iron Lady’, at the helm in Britain, power-dressing hit the boardroom.
In the late Seventies the wide Marlene Dietrich-style shoulder pad was revitalised by designers such
as Thierry Mugler. Giorgio Armani took up the look, offering a new suit with wide, padded shoulders
and a short, tight skirt. It took American designer Donna Karan te-make the look sexy: her versatile
wardrobe of scarves and leotard-style ‘bodies’ was to be worn with wrap skirts, jackets and suits. Her
coordinates could be transformed from day to evening simply by whipping off a jacket and clipping
on a pair of earrings.
The idealised body shape of the era was athletic, powerful, toned. The successful woman was
expected to work out. Tracksuits, grey jersey jogging and leg warmers were now seen outside the
gym. American designer Norma Kamali brought women leggings and the cheerleader’s rah-rah skirt.
Lycra, the super-stretch fibre, enabled designers like Azzedine Alaia to make tight-stretch mini-skirts
and tube dresses to show off the benefits of all those hours spent at the gym.
672 Dress to Impress

(Above, left) A neat velvet jacket and dark blue taffeta, trellis-print dress from the Christian Dior autumn/winter 1979
collection, designed by Marc Bohan. The sharp shoulders contrast with the soft, rounded skirt. Puffball skirts were
coming back into fashion, for the first time (and then briefly) since the 1950s. Christian Lacroix was known for his wide,
puffy, frivolous, skirts. This cocktail outfit (above, right) is by French company Kimijima for autumn/winter 1981. The silk
gazar skirt is based on the petals of a flower; and the sequin boob tube sits well with the disco trend.
 Dress to Impress 673

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(Above, left) This 1980 black and white striped taffeta evening dress is also by Marc Bohan for Christian Dior. Twenties-
style drop-waisted dresses were popular when they bore a short skirt, but big bows showed a return to the lavish mind-
set of the Belle Epoque. Thick belts and sashes were fashionable accessories. The drop-waisted effect is created here
(above, right) by a blouson jacket placed over a short, flared dress. Ballooning and puffed sleeves, tops and skirts had
come back into fashion. They were most popular for voluminous evening designs.
674 Dress to Impress

Model and actress

Lauren Hutton goes
for the disco look at
the 1980 Oscars
with a fluid metallic
dress. This was the
more elegant edge of
disco, especially
when compared
with skin-tight,
stretch clothing.
Designers used
metallic, sequinned
and lamé fabrics
that would shimmer
on the dance floor.
Fluid, drop-waisted
dresses with short
skirts mark the look
as pure Eighties.
 Dress to Impress 675

Farah Fawcett, wearing a rah-rah skirt, bops away at a Actress Nastassja Kinski shows that short skirts were back
Christmas party in 1981 with newer, bigger Eighties-style in fashion at the beginning of the Eighties. The look is still
hair. Norma Kamali raised the rah-rah from cheer-leader fluid and easy. The top of the dress resembles a sweat-
uniform to mainstream fashion. It reintroduced the mini- shirt, in line with the gym-to-the-street styles designer
skirt to women after the maxi-skirts of the Seventies. Norma Kamali helped to pioneer.
676 Dress to Impress

Imitating to flatter, Canadian fans of Boy George and Culture Club at a concert in
1984. The New Romantic style, which evolved from the punk movement,
attracted pop stars such as Adam Ant and Boy George. They took up this
historical, fancy dress style with its frilly shirts, sashes and knee breeches. Not to
be outdone, girls wore romantic dresses and bold make-up.
 Dress to Impress 677

The man himself:

Boy George on stage
with Culture Club in
Tokyo in summer
1984. Both Boy
George and fellow
pop singer Marilyn
symbolised the
gender-bender
Eighties, when boys
dressed like the girls
in frills and make-
up. Jean-Paul
Gaultier put boys in
skirts and
girls wore power
suits. The glam
stage outfits of David
Bowie and Marc
Bolan in the
Seventies were
the precursors of
this style.
678 Dress to Impress

Designer jeans
caused a sensation
when they were sold
ready-ripped, and
black bomber
jackets were an
essential part of the
streetwear wardrobe.
Black rucksacks,
preferably by Prada,
were the hot
accessories. A ‘fly-
girl’ style had
emerged from New
York with hip hop
and break dancing
and through rap
groups such as Run
DMC it became
mainstream. Logoed
trainers by Adidas,
Fila and Nike and
track suits, leggings
and big jewellery all
caught on.
 Dress to Impress 679

Two New Romantics

outside London’s
Blitz club in 1979.
Followers of this
post-punk
movement strutted
their stuff at Bowie
Night, first held at
Gossips, and then at
the Blitz. The ornate,
Indian-style face
jewellery, softened
make-up and black
lace bodice show
how punk’s hard
make-up, fetish
clothing and safety-
pin jewellery have
been toned down for
this new look.
680 Dress to Impress

Skinheads were born in the late Sixties, an offshoot of the more working-class side of
mod culture. When punk appeared on the scene, skinheads came back out of the
woodwork and added bright mohican haircuts to their donkey jackets and Doc Martens.
These skinhead girls are waiting outside a disco in Hastings in the summer of 1981.
Drainpipe jeans, like the ones they are wearing, were in during the early Eighties.
 Dress to Impress 681

Bold eye make-up

and spiked hair,
worn with a
romantic, soft-frilled
lace shirt, identify
this girl as a New
Romantic. Dark
lipstick, whitened
faces and dark eyes
were taken up by
goths and New
Romantics and
scarlet lips on a pale
face framed by a
sharp haircut
became a
mainstream look.
682 Dress to Impress
 Dress to Impress 683

Lady Diana Spencer marries Prince Charles on

29 July 1981. The gauche, former kindergarten
assistant instantly wowed an enraptured public
wit! h her fairy-tale dress of ivory silk, with its tight
bodice, voluminous skirt and long train designed
by Elizabeth and David Emanuel. The dress was
widely copied and fuelled the trend for full skirts
and puffed sleeves for eveningwear.
684 Dress to Impress

This Nina Ricci suit, from her

spring/summer 1982 collection, shows how
sharp shoulder pads and structural tailoring
had once again become popular. (Right)
Large gold buttons on clothing went with the
trend for big jewellery. (Above) Melanie
Griffith starred with Harrison Ford in
Working Girl in 1988, a film in which
a timid secretary assumes her boss's role.
Her masculine, wide-shouldered suit is
similar to businesswomen's clothes designed
by Calvin Klein and Donna Karan.
 Dress to Impress 685

The ‘power suit’, a

mini-skirted, wide-
shouldered outfit,
symbolised women
taking control in the
workplace. These
curvy versions are
by Christian Dior for
spring/summer
1987 and are worn
with typically
chunky earrings.
Eighties executive
woman would
probably have
completed the look
with a Rolex watch
and a Filofax.
686 Dress to Impress

(Right) Hip young designer Anne Dupuy makes masculine

pin-striped suits for women for the Jousse collection for
autumn/winter 1979. Jean-Paul Gaultier played a similar
game in 1985. (Above) In 1983 Annie Lennox of the
Eurythmics wore her hair cropped short and gender-
bender, men’s style clothing.
688 Dress to Imp

By 1985, Diana,
Princess of Wales,
had firmly discardec
the Sloane Ranger
look and was
experimenting with
more daring styles
such as this dress
cut low at the back
and accessorised
with pearls for the
premiere of the filn
Back to the Future
Her hair is streakec
blonde and she is
considerably
slimmer. She
particularly favoured
clothes by British
designers Caroline
Charles and Arabel’
Pollen.
 Dress to Impress 689

Diana, Princess of
Wales, strides past
y
photographers at a
wedding in 1983.
Her ‘power dress’,
with its pin-stripes
and wide shoulders,
and her confident
walk already hint at
the creation of the
fashion icon she
would become. As
her marriage broke
up she became a
tour de force, a
princess who had
the nerve to break
rank and challenge
the Royal Family on
national television.
690 Dress to Impress

were to go to the
extremes of the
1930s, volume
almost reached the
extremes of the
1950s. This
exaggerated coat
from Beretta Fashion
was shown on the
catwalk for
autumn/winter
1982. Pierre Cardin
Thierry Mugler and
Claude Montana ha®
all introduced
influential designs
with extremely wide
shoulders at the ene
of the Seventies.
 Dress to Impress 691

The trend for outsize

garments that
swamped the body
included baggy T-
shirts and sloppy
knits, which could
also be worn as
dresses. Here French
designer Sonia
Rykiel borrows from
the boys for a soft,
wide-shouldered
look for women for
her spring/summer
1982 fashion show.
The bow motif,
which also appeared
at the throat on
shirts, is used as
detailing.
692 Dress to Impress

For her Witches

collection of
autumn/winter
1983, Vivienne
Westwood used
wrinkled tubes of
fabric layered over
the hips so that the
skirt beneath flared
out. These more
conservative evening
dresses by Jean-
Louis Scherrer for
spring/summer
1987 follow a
similar silhouette.
The trend for wide
skirts such as these
began in the discos
of the early Eighties,
where women wore
bright tutu mini-
skirts as clubwear.
 Dress to Impress 693

he swashbuckling
pirate style adopted
by the New
Romantics, which
was also put on the
catwalk by Vivienne
Westwood with her
Pirates collection, is
interpreted here by
Khan Fashions for
spring/summer
1982. The frilled
shirts, bold sashes
and short trousers
here are meant to be
worn by women, but
male New
Romantics had
adopted their own
version of the look.
694 Dress to Impress

Jamie Lee Curtis

starred alongside
John Travolta as an
aerobics instructor in
the 1985 film
Perfect. Work out-
style fashion,
influenced by
jogging and
aerobics, now
appeared on the
street. Headbands,
loose tracksuit
pants, trainers, large
T-shirts and loose
sweat tops were all
popular, as were
super-stretch, skin-
tight tops, leggings
and skirts. In
America executives
even started wearing
trainers with their
power suits on their
way to work.
 Dress to Impress 695

(Above, left) Cher with her son, Elijah Blue Allman. Her easy, loose sports trousers, relaxed vest and sloppy jacket are
examples of the oversized sports clothing that had assumed such popularity at the time. A twisted headband and the
essential dark glasses complete the look. Bum-bags were another sporty trend: Cher has gone for a very sophisticated
leather-belt version. (Above, right) Olivia Newton-John in full aerobics gear on the set of her 1981 video Physical. With
the emphasis now on the fully-toned, superwoman body, sports fitness clothing was very much in fashion.
696 Dress to Impress

‘| wanna live forever’ went the refrain

from Fame, the 1980 all-singing, all-
dancing film about students at the New
York City High School for the
Performing Arts. They frequently took
to the streets of New York in their
dance clothes. This picture catches the
kids from Fame in the leggings, loose
tops and legwarmers that also
happened to be fashionable daywear at
the time.
Dress to Impress 697
incl
 Dress to Impress 699

Bad boy of fashion

Jean-Paul Gaultier
offers fish tail-style
skirts for spring/
summer 1986 (left).
The tight skirts
which explode in a
layer of fabric at the
ankle are a longer
version of the earlier
tutu styles. The
simple knitted tube
of fabric was
promoted as a
versatile piece of
clothing. It could be
worn as a boob
tube, over the hair
like a hood, around
the neck like a scarf,
as a mini-dress or as
a skirt. (Right) This
androgynous model
wears a tight tube
skirt in 1980,
combining it with
a loose shirt.
£ Ss a 2 n n
 Dress to Impress 701

status-driven looks of the

Japanese designers had a major influence on fashion and offered a zen antidote to the sexy
around the body for
Eighties. Issey Miyake (opposite, left) and Yohji Yamamoto (above, left) offer loose clothes wrapped
jeans and Doc Marten
1986. Black polo necks were back in fashion on the street, and could be teamed with black Levi
in 1986. (Above,
shoes. Yohji Yamamoto (opposite, right) uses flat lace-up shoes and black polo necks on the catwalk
of materials.
right) Issey Miyake demonstrates his sculptural knits in 1987 and his unique manipulation
702 Dress to Impress

Karl Lagerfeld
helped to turn
Chanel around to
make it into a strong
cult label once
again. Coco Chanel
had originally used
gold chains to weigh
down the edges of
her suits, and also
promoted bold
costume jewellery.
Lagerfeld has
whipped the chains
off the suits to crea’
big gold belts and
necklaces in true
Eighties style.
 Dress to Impress 703

shows from which a

The Eighties were about excess and nothing summed up excess more than the haute couture
of wealthy women ordered expensive made-to-measur e clothes. The couture collections continued
diminishing handful
This winter outfit (above, left)
predominantly as a marketing tool from which to sell ready-to-wear, cosmetics and scent.
for his autumn/winter 1982
for 1983 is by the house of Lanvin. Yves Saint Laurent shows an opulent dress and jacket
(above, right). The bodice and skirt are embellished in a way that would, by the 1990s, seem over the top.
collection
704 Dress to Imp

Annie Lennox in
concert in 1984.
Thick belts such as
the one she is
wearing, reminisce:
of ‘waspie’ waist
corsets, were part o7
the trend for
underwear-as-
outerwear along wit
bustier bra tops.
Fingerless gloves
were also a key
Eighties accessory,
particularly when
executed in lace.
 Dress to Impress 705

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Madonna in concert in America in 1985. Madonna’s style Debbie Harry and Blondie in 1980. T-shirts with slogans
was widely copied. Lacy tights, miniskirts and trashy, were popular during the 1980s and gave the wearer the
layered clothes were accessorised with a jumble of mixed opportunity to show off their logos and labels if they so
necklaces that trailed down to the waist. Wide, cropped chose. Katharine Hamnett had started a trend for oversized
T-shirts with big political slogans when she confronted
tops with bat wing sleeves were a key trend, along with
oversized knitted jumpers. Margaret Thatcher in 1984.
SsoO xe) a rya n Ls Ee a 2o Wwn
 Dress to Impress 707

Eighties-style haircuts included teased, gelled and permed, streaked peroxide glamour locks. Blonde
was worn big and long with lots of body on top of the head. This style was often tied back in a
flapper’ bow, as worn by Madonna (above) in the 1980's film Desperately Seeking Susan. Sharp,
angular bobbed hair, sometimes streaked with vivid colour cut a dash with a minimalist black uniform,
and post-punk hair was coloured, shaved and spiked was influential for teenage and street fashions.
708 Dress to Impress
 Dress to Impress 709

Hairstyle, clothes — everything about Diana,

Princess of Wales, was copied. In New
Zealand in 1984 devotees of Diana get the
look. Few would be able to keep up with the
changes that ensued as Diana became a
fashion icon beyond compare.
710 Dress to Impress
 Dress to Impress 711

Neon for socks, tops and leggings came into fashion during
the Eighties but it looked best on the beach where it gave a
glow to a golden tan. Thongs ensured no (horror of horrors)
‘visible panty line’ under a tight mini-dress for daywear and
were worn on the beach (left) for maximum tanning
potential and to show off a finely toned body. These are
from 1988. Neoprene, wet-suit effect material was also
used for swimwear: this bustier (above) is from 1987.
712 Dress to Impress

Claude Montana puts his models in fur for autumn/winter 1986. He

plays with the trend for voluminous shapes and creates a top-heavy
look by combining them with tight trousers. He started out making
papier-maché jewellery decorated with rhinestones and went on to
launch his first Claude Montana collection in 1977.
 Dress to Impress 713

Grace Jones — in her

time model, actress,
singer and Bond gir!
— glowers at the
camera in 1985.
Her wide-shouldered
fur coat or wrap and
tube-like hood are
both typical of the
Eighties, as is the
bold piece of
jewellery worn at the
throat. The anti-fur
movement had
garnered increasing
public support.
Many European
women chose fake
fur over real and a
number of top
models posed naked
for an advert-
isement that read
‘id Rather Go Naked
Than Wear Fur’. Not
until the late 1990s
did fur became more
acceptable again
and some of those
same models wore
fur on the catwalk.
714 Dress to Impress

On television in the
Eighties soap operas
came to symbolise
an era of wealth and
power-dressing
Dynasty was one
such soap and it
was slavishly
followed. So too
were the women,
with their big hair,
flashy jewellery,
over-made-up faces
and glittering,
sequinned suits and
opulent evening
gowns. Linda Evans
(left) and Joan
Collins flank John
Forsythe. Heather
Locklear stands at
the back.
 Dress to Impress 715

Brigitte Notz, aping

Dynasty style in real
life in the Eighties,
poses in Gstaad, the
exclusive Swiss ski
resort. Her white fur
coat, all feet and
tails, and her brash
gold jewellery
symbolise Eighties
over-the-top, bad
taste. Sloppy
jumpers and shirts
were often caught
up with a fat belt
worn on the hip like
this one.
716 Dress to Impress

An Eighties model
on the runway
swings a Chanel
bag, with its
trademark gilt-
chained handle. The
Chanel bag became
a fashion essential
for those that could
afford to flaunt their
designer labels. It
became fashionable
to wear matching
chain belts with Levi
501 jeans, teamed
with a Chanel
jacket.
 Dress to Impress 717

Where better than

Capri to show off
your designer labels
Sabine Federico

;
the high street
Benetton and Naf-
Naf plastered their
name on sweatshirts
and T-shirts. For the
year 2000 logos
were suddenly
revived, having been
virtually wiped from
fashion during the
Nineties.
 10 Back to Basics
1988-2000

ee
ae
i
f

On her Blonde Ambition Tour in 1990, Madonna wore Jean-Paul Gaultier. He also used a
pink-corseted, sexy torso for the shape of his scent bottle. Corsets with conical breasts to be
flaunted were a Gaultier speciality, helping to promote the underwear-as-outerwear trend. The
Vatican dubbed Madonna's show as ‘one of the most satanic shows in the history of
humanity’, as a result of which she, ever the good Catholic girl, was excommunicated.
 10. ~~ Back to Basics
1988-2000

‘Nowadays people are looking more for what's practical; leisure time and quality of life are more
important than how you dress,’ explains Christian Lacroix. The theatricality of Eighties fashion gave
way to New Age easy dressing. Rifat Ozbek’s 1990 collection heralded the new era. It was like
wiping the slate clean with hooded white tops, white trainers and crystals on strings. Big hair and
shoulder pads went out of the window as the recession kicked in. Logoed clothes were consigned to
the back of the wardrobe and power suits were replaced by luxury basics: cashmere T-shirts and silk
pyjama pants by New York designer Zoran and the purist lines of Jil Sander.
Designers pumped more money into marketing and advertising to stimulate demand for designer
labels during the recession. On the high street Gap succeeding by selling basic clothes backed by a
watertight marketing strategy, and on a designer level Calvin Klein convinced the public to buy his
simple cotton underwear. Muji rejected the concept of labelling its clothes altogether and sold itself
as a ‘non-branded’ brand. While the Nineties was not about status, Gucci and Prada still managed
to maintain their cachet by building up strong clothing lines which acted as marketing tools for their
lucrative accessories businesses.
The end of the Nineties signalled the battle of the brands. Multinational companies were fighting
for control of the major designer labels like Fendi and Gucci. One of the largest was luxury goods
company LVMH Moét Hennessy Louis Vuitton. Its chairman Bernard Arnault brought in radical
young British designers to pump new life into Parisian fashion. John Galliano was picked
up by
Givenchy and was quickly moved to Dior to make way for Alexander McQueen.
He installed
American Marc Jacobs at Louis Vuitton who was instrumental in lifting the brand profile
with the
ready-to-wear line. Their fresh approach to fashion soon made sparks fly and another
luxury goods
company, Richemont, put London designer Stella McCartney in place at Chloé.
 At the end of the Eighties, London Fashion Week had been in trouble. ‘Too many designer shows,
many lacking in professionalism,’ reported Drapers Record in 1986. Vivienne Westwood, Katharine
Hamneit, John Galliano and Rifat Ozbek were no longer showing collections in London. It took a
new breed of designers from Central Saint Martins College of Art and Design to kick some life into
London Fashion Week. Alexander McQueen, Hussein Chalayan, Antonio Berardi and Clements
Ribeiro made London the place to be. By 1995 Drapers Record was marvelling: ‘Where else can
the buyer see sophisticated eveningwear one moment and deranged models with torn black contact
lenses the next? ... London Fashion Week, where avant-garde and establishment rub shoulders with
impunity.’ Other fresh ideas were coming from Belgium and Austria: Helmut Lang’s luxurious
minimalism developed a cult following. Martin Margiela and Ann Demeulemeester helped to pioneer
a deconstructivist aesthetic, taking minimalism one stage further.
Fashion had entered an age of pluralism. There was no single trend, but something for everybody.
lf anything, designers were inspired by fabric innovations and new ways of construction such as heat
bonding and laser cutting. For those who wanted affordable fashion, high street multiples such as
Zara, Top Shop and French Connection had never been more efficient in delivering the trends as they
happened. At the end of the Nineties there was a slump. How could fashion houses persuade
women to part with their cash for the latest designer jacket when they really wanted to spend it on
holidays and on their homes? One way was by adding domestic products to their portfolios: you could
now buy designer dog collars at Gucci and antique furniture at Nicole Farhi. Fashion products were
becoming multifunctional: luxurious pashmina scarves doubled up as throws for sofas and evening
handbags could pass as small decorative ornaments. Designer boutiques such as Browns in London
and Colette in Paris began selling homeware and clothes under the same roof.
For autumn/winter 1999, the turn of the century, designers rejected shiny, futuristic-style clothes.
Instead they chose pieces which softly wrapped the body in cream felt, boiled wool or chunky hand-
knits, such as funnel-necked jackets, blanket skirts and duvet-style padded coats. Zips and buttons
were hidden, almost as if they were dirty words. The body was left cocooned in ergonomic cream
fabric, ready to emerge for spring 2000 in a burst of colour and print for the new century.
722 Back to Basics

Ee ee

The build up to the second ‘Summer of Love’ of

1988 and the birth of rave culture started with
clubs like Shoom and Project Club, parties on
Ibiza, Acid House music and the drug ecstasy.
Smiley face logos, loose hippie clothing, bright
colours, tie dye and dungarees all became the
obligatory attire. (Above) Joy parties at Shoom in
1988. (Left) The flower motif from 1967
reappears next to a smiley face for a T-shirt
design. Ravers were soon congregating illegally in
fields and warehouses where they would dance
throughout the weekend.
 Back to Basics 723

Another strain of
ravers came from
the northern British
cities such as
‘Madchester’, which
Spawned bands like
the Stone Roses and
the Happy Mondays.
These indie ravers
wore loose, slogan
T-shirts and brightly
coloured jeans
which just got
baggier and baggier.
They would also
travel to the
weekend parties and
festivals. (Right)
Ravers caught by
the camera in 1990.
724 Back to Basics

(Left) Model Sara Stockbridge shows off a signature

Vivienne Westwood corset top and platform boots. In
1990 and 1991 Westwood was awarded the prestigious
British Fashion Designer of the Year Award, the first
designer to win it two years in a row. During the 1990s
she delved into history for inspiration for her designs,
reviving platform shoes from the Seventies and going a
little further back — to the 18th century — for corsets.
(Above) Honor Fraser wears a mini-kilt and corset from
Westwood's autumn/winter 1997 collection.
 Back to Basics 725

A knickerless
Vivienne Westwood
still had the ability to
shock, even with her
punk days behind
her. Here she flashes
for the camera at
Buckingham Palace
(well, why not?),
where she received
her OBE in
December 1992.
Another memorable
Wesiwood moment
came when she
wore a nude-look
leotard, decorated
with a single green
fabric fig leaf, on a
television chat show.
726 Back to Basics

A bare-breasted Madonna is escorted by

Jean-Paul Gaultier at the end of a fund raising
fashion show in 1992. The sailor stripes of
Gaultier’s top and the pin-stripes of
Madonna's outfit were motifs that he used
again and again for his womenswear designs.
 Back to Basics 727

In an unconventional move, and at a time when the number of couture clients had shrunk, Jean-Paul Gaultier launched
his own couture line in 1997. The move contributed to the youthful revamp of the industry, now that John Galliano and
Alexander McQueen were both designing couture. This dress (above, left) is from Gaultier’s first couture show and is
more lavish that the typical Nineties clean-cut basics. This romantic scarf worn with a pin-striped jacket (above, right) is
also from Gaultier’s first couture collection of 1997. It contrasts with his 1993 collection, when he sent models onto the
catwalk with tattoos and heavy piercing.
728 Back to Basics

Gianni Versace was not known for his subtlety and minimalism. His clothes, in
true Eighties style, were often excessive, loud, verging on the brash. (Above)
Versace revives the Pucci tradition for silk shirts in brightly coloured prints for
spring/summer 1991. Tragically, Versace was shot and killed in Miami in 1997:
his sister Donatella took over as designer and head of the house.
 Back to Basics 729

The cult of the

supermodel reached
its peak in the early
Nineties. A clutch of
models including
Naomi Campbell
(British), Linda
Evangelista
(Canadian) and
Christy Turlington
(American) were
raised to celebrity
status in a way that
only Twiggy had
managed before.
They demanded
high fees; the media
created them as
personalities and
followed them all
over the place. Here
supermodel Cindy
Crawford, clad in a
Gianni Versace
‘bondage’ gown,
reports on the MTV
Music Video Awards
in 1992.
730 Back to Basics

Ce American actress
Gwyneth Paltrow
arrives at the Oscars
in March 1999 wit
her father, director
Bruce Paltrow,
where she was to
win the award for
Best Actress for
Shakespeare in
Love. While much of
Hollywood chose
revealing glamour
gowns for the event
Paltrow stood out in
her demure pink
dress, without
beading or sequins,
by American
designer Ralph
Lauren. Her
acceptance speech
was awash with
tears.
 Back to Basics 731

Actress Liz Hurley

has never been
known for her
demure dresses. In
1997 she came to
public attention with
a daring slip of a
Versace dress held
together by giant
gold safety pins.
Here she arrives at
the 1998 wedding
of Henry Dent-
Brocklehurst and Lili
Maltese in another
Versace number, an
orange dress split
almost to the waist.
Even after his death,
Gianni Versace
continues to be a
popular label for
stars looking for that
show-stopping oufit.
La Hurley’s bag,
incidentally, is by
Judith Leiber.
732 Back to Basics

(Above, left) Princess Diana arrives at a fund raising gala in London, 1995. Her simple halter neck dress, with its
plunging V-neck, is a world away from her just-married, bouffant evening frocks. She had expertly
honed her personal
style to a sleek, simple look. More daring eveningwear included a lace-trimmed lingerie-style dress
by John Galliano,
which she wore for an evening at the Metropolitan Museum of Art. In 1995 Princess Diana had
also developed a more
practical daywear look. She particularly favoured sharp tailoring by British designer Jasper Conran,
known for his simple,
flattering designs. Here (above, right) she carries a handbag with a long gold chain shoulder
Strap in the style of Chanel.
 Back to Basics 733

Princess Diana at a
party in the Farnese
Palace in Rome in
1996. She liked
beaded dresses for
the evening and was
particularly fond of
elegant pieces by
Catherine Walker
and Amanda
Wakeley. Princess
Diana would meet a
dramatic and
untimely end in a
car crash, with
boyfriend Dodi
Fayed, in Paris
in 1997.
734 Back to Basics

This bold
detailing from Sonia
Rykiel’s 1997
spring/summer
collection shows her
signature knitwear
and stripes. Hipsters
had come back into
fashion at the end of
the Nineties. Even
tights were designed
to finish on the hip,
so that they could be
worn under low-
slung trousers such
as these. Loose
jersey dressing had
replaced structured
tailoring and was
becoming more
acceptable to wear
in the office.
 Back to Basics 735

This close-up of
Vivienne Westwood’s
collection from
autumn/winter 1995
shows how she
juxtaposed different
styles of checks and
plaids to create a
clash of tartans.
Westwood always
emphasised the
importance of
garment construction
and technique when
designing clothes. In
1993 she moved
her business on by
launching her less
expensive, ready-to-
wear Red Label
collection.
736 Back to Basics

John Galliano is one

of the most
innovative designers
of the 1990s. He
was launched in
1984 when Joan
Burstein, ultra-
influential co-owner
of London designer
boutique Browns,
spotted Galliano’'s
Les Incroyables
collection at his
Saint Martins degree
show in 1984. She
bought his entire
eight-piece
collection, which
was based on the
French Revolution,
and put it in her
South Moulton
Street shop window.
This dress is from
Galliano’s spring/
summer 1993
collection.
 Back to Basics 737

Galliano presents a
Union Jack jacket
for spring/summer
1993. He was ever
creative: he would
make a dress using
the same motif for
his autumn/winter
1997 collection and
his creations are
historically
researched down to
the smallest detail
He offered 18th-
century crinoline-
style skirts for
Givenchy couture
spring/summer
1996, sleek
Twenties dresses for
autumn/winter
1994, and the neat
curves and tight
skirts of the 1950s
for spring/summer.
738 Back to Basics

In July 1997 John

Galliano designed
his first haute
couture collection for
Christian Dior (left),
shown here, after
being appointed
creative director of
Dior in 1996. He
had originally been
taken on as creative
director at Givenchy
in 1995, a move
which was to set
him up for Dior.
British design talent,
much of which
stemmed from
London's Central
Saint Martins
College of Art and
Design, was
stealthily moving in
on the Paris houses.
 Back to Basics 739

Galliano helped to
knock the stuffing
out of couture by
designing exquisite
clothing with an
edge. He paid close
attention to the
history of the house
of Dior, giving the
Classic shapes a
modern twist. This
curvaceous couture
jacket follows the
lines of an original
New Look Dior
jacket, such as the
one worn with the
famous Bar suit. He
also reintroduced
leopard print
clothing, a Dior
favourite, with sexy
leopard slip dresses.
740 Back to Basics

John Galliano is renowned for his bias-cut slip dresses and for this reason is compared
with Madame Madeleine Vionnet. In this photograph (above), two models wear bias-cut
dresses in deep maroon for his autumn/winter 1999 collection. The dresses have subtle
twisted detailing at the hip for a new take on the classic Galliano dress. (Opposite)
Galliano prepares for his spring/summer 1997 haute couture show, his first for Dior,
Back to Basics 741
742 Back to Basics

Alexander McQueen is one of the designers who helped to

revitalise London Fashion Week, raising British fashion to
the height of cool. A cutting genius, his designs are often
trend-setters. (Above) This theatrical skirt made of
punched-out metal is worn at his 1999 show where
models walked on a catwalk of frozen ice set inside glass.
 Back to Basics 743

In 1996 Alexander
McQueen replaced
John Galliano as
head designer at the
house of Givenchy,
where he designed
both the Givenchy
couture and ready-
to-wear lines. This
sci-fi gold corseted
bodice offers a
supernatural look for
his first Givenchy
couture collection for
spring/summer
1997. The theme of
Greek mythology
was the inspiration
behind the clothing
line. (Opposite,
right) McQueen's
Givenchy couture
suit for spring/-
summer 1998
demonstrates his
razor-sharp tailoring
skills.
744 Back to Basics

Alexander McQueen
is applauded after
the success of his
first haute couture
collection for
Givenchy in 1997.
He trained at Central
Saint Martins
College of Art and
Design and started
his own label in
1993. McQueen is
renowned for his
‘bumster’ trousers,
with their revealingly
low waistbands.
 Back to Basics 745

British model Stella

Tennant (left) wears
a white sailor-style
trouser suit for
Givenchy couture in
1997. White was an
important colour for
fashion in the
1990s. At the
beginning of the
decade it signified a
fresh start after the
opulence of the
Eighties. During the
mid-Nineties head-
to-toe black was no
longer fashionable.
746 Back to Basics

Geri ‘Ginger Spice’

Halliwell, on stage at
the Brit Awards in
1997 wearing a
suitably patriotic but
somewhat revealing
dress. The Spice
Girls were known for
their bold, brash
stage outfits and,
depending on their
personae, high
platform boots or
trainers. Their style
influenced sartorially
aware pre-pubescent
girls and six-year-old
wannabes. When
Geri left the Spice
Girls in 1998 she
toned down her
theatrical look for a
more subtle, grown-
up style.
 Back to Basics 747

Italian designers
Dolce & Gabbana
also celebrate
Britain for their
spring/summer
1999 collection.
Towards the end of
the Nineties, Britain
experienced a wave
of international
acclaim for its good
fashion, music and
restaurants, just as
in the Swinging
Sixties. This dress,
worn by Stella
Tennant, signals a
return to a 1980's
style, with mini-
skirts, studded
bracelets and
leopard-patterned
tights. By the mid-
Nineties, long or
mid-length skirts
were worn, but
mini-skirts were out.
748 Back to Basics

(Above, left) Belgian designer Dries van Noten shows a cosy, minimalist skirt and waistcoat for his autumn/winter 1999
collection in rich, spicy colours. At the turn of the century, many designers opted for a minimal,
no-frills, cosy style, using
boiled wool and felt. Antonio Berardi, known for his sassy leather clothing, offers a demure pink coat with matching
vamp boots in pink leather (above, right). Berardi trained with John Galliano, working as his assistant for
three years.
 Back to Basics 749

A wooden corset
modelled at the
Hussein Chalayan
show, London,
1995. British
designer Chalayan is
known as a fashion
purist who makes
intellectual, minimal,
well-cut clothing. He
also designs the TSE
cashmere line.
Chalayan shot to
fame when, for his
Central Saint
Martins degree
show, he made a
metal-covered dress
that had been buried
in the ground until it
rusted.
750 Back to Basics

(Above, left) A watered silk dressing gown coat by Paul Smith for autumn/winter 1998. Loose wrap-style, semi-
tailored pieces such as this one were much more fashionable than structured coats and matching suits at the
time. Paul Smith started off designing classic British menswear with a twist; when that proved successful, he
moved into womenswear. The autumn/winter 2000 collections saw the return of tailoring and head-to-toe black
outfits with an Eighties twist. German designer Jil Sander, whose clothes are modelled above (above, right),
offers highly priced, minimal de /uxe clothing.
 Back to Basics 751

Kate Moss in a dress

by Martine Sitbon
for spring/summer
1992. Sitbon makes
elegant but edgy
clothes and in 1988
she began to design
for Chloé until Karl
Lagerfeld returned in
1992. This
photograph
demonstrates the
trend for the longer,
looser style of
dressing compared
with the Eighties,
with the emphasis
on layering and mix-
and-match separates
rather than suits.
752 Back to Basics

Icelandic pop singer

Bjork performing in
w= ntiago, Chile, in

all-white outfit is
similar to the New
Age styles of the

patron of up-and-
coming fashion
designers,
particularly British,
such as Jessica
Ogden.
 Back to Basics 753

Courtney Love, lead

singer of Hole,
arrives at the 1992
MTV Music Awards
Show in Los Angeles
with her husband
Kurt Cobain and
daughter Frances
Bean. Her simple,
white, no-frills halter
neck dress is
reminiscent of the
white glamour
dresses of the
1930s. In true
Nineties style she
wears minimal
jewellery. Courtney
had a passion for
designer clothes,
particularly pieces
by Versace.
754 Back to Basics

Actress Demi Moore

at Dolce &
Gabbana’s New York
show in 1996. She
starred in, and
shaved her head for,
Ridley Scott's G/
Jane, but to no
noticeable effect.
This minimal, unisex
style is the very
antithesis of the
thick, blonde tresses
SO popular during
the mid-Eighties.
 Back to Basics 755

A lesbian couple
take part in the
annual Gay Pride
march in London in
1993. Their tutu-
style skirts are
reminiscent of the
skirts worn for
clubbing at the
beginning of the
Eighties. They both
have shaved their
heads and wear
round, matching
John Lennon-style
dark glasses.
756 Back to Basics
 Back to Basics 757

Naomi Campbell goes to the market to shop for

second-hand clothes. The thrift shop look
= appealed to women who wanted to be individual,
particularly at a time when the high street was
churning out mass-produced copies of anything
ii
ii trendy or fashionable. At the end of the Nineties
there was a return to folksy, homespun hand
embroidery and hand knits. Market shopping was
also ideal for anyone interested in the Seventies
retro look: the markets were stuffed with originals
from the period.
758 Back to Basics
 Back to Basics 759
Pierced tummy
buttons, lips and
eyebrows, and tribal-
style ear-stretching
had all become
mainstream street
fashion accessories
(opposite, above
left). The same went
for tattoos. Thick,
black Celtic motifs
were the most
popular (opposite,
below right).
Comfortable trainers
were worn all year
round and open-
toed, slip-on
Birkenstock sandals
became the cool
summer option
(opposite, below
left). In the Eighties
sports logos were
plastered all over
clothes and the
Adidas stripes
running down the
seams of clothing
were all the rage
(opposite, above
right). Fleece was
the new comfort
fabric, and beanie
hats such as this
one from 1994 by
Kenzo (right),
became fashionable
in the early Nineties.
760 Back to Basics

At the end of the

century a functional,
versatile style
evolved with pockets
that could button on
and off, clothes with
zip on and off arm
pieces and bags that
were attached to
scarves. There was
an emphasis on
clothes that could be
comfortable in
different climates,
were good to travel
in and would work
for day through to
evening. Here
Michiko Koshino
demonstrates a fron
strap rucksack.
 Back to Basics 761

Anna Sui was

renowned for her
Seventies-style

she borrows from

different cultures
around the world for
this fur-trimmed
dress and matching
hood and muffler.
Fashion had gone
global, thanks to
better communica-
tions and travel, and
designers mixed
influences from
different cultures for
a nomadic, one-
world style.
 Partying at a crystal
a Russian

this girt demon-

strates the trend for
wearing underwear
as Outerwear. In
Britain a
earlier Vivienne
Westwood had

police cracked down

on festivals and
raves in Britain, the
sound system
collectives piled their
Speakers and
records into vans to
continue the free
parties in Europe.
 Back to Basics 763

A global, hippie style

had caught on with
the party people.
New Age travellers
merged with ravers
at parties reminis-
cent of the flower
child festivals of the
Seventies. Peruvian-
style hats such as
this one, Indian
sarongs and beaded
dreadlocks were
mixed with combat
trousers, trainers
and beaten-up logo
T-shirts. The catwalk
did its own hippie
version, called
‘grunge’, but it did
not last. Women did
not want to pay
designer prices on
thrift-look clothing.

i apUA
0

hh
vA Uy,
WU,
MOT)
ft
fo
 764 Back to Basics

Tunisian designer Azzedine Alaia was the master of tight, sexy

stretch clothing during
the Eighties. His tight designs of jersey, wool-stretch, silk and
leather included
bustiers and stretch dresses which laced revealingly up
the side of the body. Here he
experiments with long overskirts layered over short in 1988,
similar to Pierre Cardin’s
styles during the late Sixties as mini-skirts and maxi-skirts
jostled for autonomy.
 Back to Basics 765

Turkish-born
designer Rifat Ozbek
was one of the more
exciting young
designers working in
the late Eighties and
early Nineties. He
incorporated exotic
Eastern detailing into
his collections,
shown here with this
tribal headpiece, but
his designs were
slick, sharp and
elegant. This was
the designer who
welcomed in the
1990s with his all-
white New Age
collection, which
helped to introduce
the ‘less is more’
trend for Nineties
dressing.
766 Back to Basics

Yohji Yamamoto’s
influence on fashion
grew throughout the
Nineties. A particul-
arly memorable
collection was based
on a romantic
wedding theme,
where wide, frothy
dresses were
combined with
mannish, tailored
suits. This caped
outfit for his
autumn/winter 1999
show demonstrates
the turn-of-the-
century trend for
cocoon-like clothing
that swaddled the
body in felt and soft,
white boiled wool.
 Back to Basics 767

This outfit for

autumn/winter 1999
by designer A.F.
Vandevorst plays
with tailoring
shapes, but traps
and cocoons the
arms, so that the
coat acts like a
cape. Belgian and
Austrian designers
such as Martin
Margiela and
Helmut Lang
respectively were
well known for
taking pieces of
tailoring apart, and
putting them back
together in new
ways for a
deconstructionist
style.
768 Back to Basics

Japanese designer
Rei Kawakubo of
Comme des Garcon
has an original and
highly creative
design vision, often
anticipating
mainstream trends
before anyone else.
She does not let her
garments trace the
natural body shape,
but sculpts them
around the body,
using minimal
shapes to contrast
with voluminous
frills and ruffles. This
brightly coloured
outfit is from her
spring/summer
1992 collection.
 Back to Basics 769
Rei Kawakubo’s
clothes vault from
minimalism in bright
colours to minutely
layered cotton rag
dresses like soft
peiticoats. This
richly brocaded
dress (right) is
layered over another
underskirt in deep
green. The Japanese
school of designers,
particularly Issey
Miyake, was well
known for breaking
boundaries in terms
of fabric innovation.
This sheer dress by
Yohji Yamamoto (far
right) is marked out
in triangles with
multicoloured braid
for a hand-crafted
look for spring/
summer 1997.
770 Back to Basics

Yohji Yamamoto
offers an earthy,
knitted look for
autumn/winter
1996. Knitwear and
jersey boomed
during the late
1990s as an
alternative to
tailoring. The fabric
suited the long fluid
skirts that were in
fashion. This picture
demonstrates the
popular trend for
layering. Long
knitted cardigan
coats were worn as
an alternative to
tailoring, just as
they were during
the 1920s.
 Back to Basics 771
The deconstruction-
ist trend is demon-
strated here in the
autumn/winter 1996
collection from Yohji
Yamamoto. A coat
peels off the body
and appears to be
an unfinished
garment. When
Yamamoto showed
his early Eighties
Paris collections in
body swathing
black, people
laughed at him. But
he could live with it:
the oversized look
came into fashion,
and Yamamoto sub-
sequently proved
that he could
produce elegant,
streamlined tailoring
and dresses that
would flatter the
female figure.
772 Back to Basics

Miuccia Prada summed up the easy, purist lines of the 1990s, opting for a sophisticated less-is-more style, but producing
highly covetable pieces. This outfit for autumn/winter 2000 (above, left) shows the sophisticated, lady-like elegance that
Prada brought back into fashion at the beginning of the 21st century. Gucci, on the other hand, opts for a retro sexy ‘It’
girl chic (above, right), which was slavishly copied by the high street every season. For autumn/winter 1999 Gucci did
ruched velvet, black leather and lavish fur, and has set trends for sexy snakeskin and feather trimmed jeans.
 Back to Basics 773

For the 1990 transparent clothi was big news on the catwalks as fashion got floaty. The pieces were sold with flesh-
coloured slips for decency, and chiffon tops became a mainstream trend. This outfit (above, left) is by Prada for
spring/summer 1997. Seamed leather suits and sexy Seventies frills seemed the height of cool when they appeared on
the Gucci catwalk for autumn/winter 2000 (above, right). American Tom Ford was brought in as design director to
revamp the luxury leather goods house in 1993. As a result of this, Gucci became the status symbol of the decade.
774 Back to Basics
With their clean
lines and minimal
detail these plain,
white strapless
dresses sum up the
purist side of
Nineties back-to-
basics style. The
white trend was
almost surgical in its
simplicity, with hid-
den fastenings and
wrap ties. These
autumn/winter 1997
dresses are by
Calvin Klein, who,
like Giorgio Armani,
kept his designs
toned down,
wearable and
discreet. Strapless
bustiers or bandeau
tops continued to be
a trend, from
corseted versions to
stretch-style disco
boob tubes.
 Back to Basics 775

Donna Karan goes for rock star style For autumn/winter 1999 Donna Karan goes for a blanket-style wrap
for her younger DKNY line in 1997. Karan offered sleek daywear in black for her final collection of the Nineties.
Supple, sleek leather remained leather. Skirts now sat below the Many designers contrasted soft,
fashionable throughout the 1990s knee or were mid-calf, a length cream blanket wool and sleek, black
and was used for skirts, dresses and which had been considered frumpy leather for their autumn/winter 1999
shirts as well as jackets and shoes. at the beginning of the decade. collections.
776 Back to Basics

Like Tom Ford at Gucci, Stella McCartney turned the Chloé She revisited the Seventies to recreate the fluid Chloé lines,
label into an aspirational brand. This collection, which was from linen white dresses similar to Victorian underwear, to
dedicated to her mother Linda McCartney, plays with the disco-toting denim with trellis lines of diamanté on cut-
notion of childhood. Her spray paint-style T-shirts such as away panels. She understands what women want to wear,
this one, and a version with an eagle motif, became best and makes commercial rather than intellectual clothes.
sellers for autumn/winter 1999. Here she does her version of the hand-crafted look.
 Back to Basics 777

Claudia Schiffer
models a feminine
summer dress by
Karl Lagerfeld who
designed for the
Chloé label, first
during the Seventies
and then again in
the Nineties.
(Overleaf) The
weightless petal
dresses shown by
Issey Miyake for his
autumn/winter 1999
collection-do more
than simply sum up
his technical
excellence and
romantic vision; they
offer a sense of
calmness and purity,
of wiping the slate
clean at the dawn of
a new century.
Back to Basics 779
 Index Bakst, Léon 11, 55
Balenciaga, Cristobal 299, 377,
Bousquet, Marie-Louise
Boussac, Marcel and house of
420 Chanel, Gabrielle ‘Coco’ and
house of 6, 66-7, 81, 104,
404, 412, 440, 444-5, 490 412, 416, 507, 534 107, 114, 122, 136, 138,
Balmain, Pierre 436, 443, 473, Bow, Clara 207, 230 147-8, 155-7, 159, 161,
Abzug, Bella 597 485, 490, 582, 642 Boyd, Pattie 607 178, 180, 187, 244, 257,
Adam 558 Ballets Russes 11, 55, 148 Boy George 677 267, 273, 292, 304, 343,
Adidas 670, 678, 717, 758 Bankhead, Tallulah 331 Brando, Marlon 453 389, 413, 432, 502, 523,
Adrian, Gilbert 234, 242, 290, Banks, Jeff 618 Brent, Evelyn 195 650-51, 670, 702, 716-17,
292-3, 298-9, Banton, Travis 234, 243, 283, Brooks, Louise 207 732
Alaia, Azzedine 670, 764 297 Browns 720, 736 Charles, Caroline 688
Alanova, Kyra 163 Barbarova, Thalia 208 Buadpiece, Sarah 570 Charrier, Jacques 485
Aldrich, Larry 528 Barbour 287 Burberry 78, 287 Cher 695
Alexandra, Queen 43, 61 Bardot, Brigitte 454-5, 485-6, Burstein, Joan 736 Chez Elle 541
Alexandra, Princess 237 567, 630 Bus Stop 533 Chilvers, Carol 539
Allen, Adrianne 224 Barthot, Jean 474 Chloé 413, 720, 776-7
Allen, Janet 332 Bassey, Shirley 584 Callot Sceurs 10 Christie, Julie 504, 523, 600
Allman, Elijah Blue 695 Bates, John 627 Calroux, Betty 624 Christian, Linda 518
Amies, Hardy 342, 347, 413, Bathing Belles 203 Calvert, Phyllis 393 Churchill, Clarissa 221
428 Bazaar 490-91, 525 Campbell, Naomi 729, 757 Churchill, Randolph 181
Ames, Adrienne 264 Beene, Geoffrey 630 Campbell-Walker, Fiona (Baroness Churchill, Winston 181
Andrée, Rosemary 325 Bell, Vanessa 40-41 Thyssen) 540, 657 Claire, Ina 57
Andress, Ursula 523, 631 Benetton 717 Capucci, Roberto 426, 438, Clark, Ossie 491, 528, 548,
Antoine (1920s) 205 Bennett, Constance 294 528-9 578, 616, 619-20
Antoine (1950s) 486 Bennett, Veronica ‘Ronnie’ 545 Capucine 657 Clark, Petula 500
Apple 532 Bérard, Christian 388 Cardin, Pierre 491, 493, 507, Cleod, Char 635
Arnault, Bernard 720 Berardi, Antonio 720, 750 528, 540, 550, 553, 558-9, Clifford, Camille 20-21
Aquascutum 287 Beretta Fashion 690 577, 581, 639, 690, 764 Cobain, Kurt 753
Armani, Giorgio 549, 671, 774 Bergman, Ingrid 394, 486 Cardinale, Claudia 523, 540, Cocteau, Jean 122, 235, 388
Asher, Jane 607 Bernard 139 567 Cogan, Alma 543
Ashley, Laura (and store) 549, Bernshaw 509 Carita 543 Colbert, Claudette 297, 338
573, 608, 623 Bianchini-Ferier 198 Carnegie, Hattie 299 Colette 721
Astaire, Adéle 229 Biba 490-91, 533, 549, 562, Cartier 61, 122 Collins, Joan 714
Astaire, Fred 229, 234, 284-5, 641 Carven 642 Comme des Gargons 670-71,
478 Bidault, Madame 418 Cassini, Oleg 511 768
Astor, Nancy 67 e
Biret 62 Castillo, Antonio 632 Conran, Jasper 732
Auld, Maggie 534 Birkenstock 759 Castle, Irene 140 Cooper, Lady Diana 118
Au Printemps 432 Birtwell, Celia 548, 616, 619 Cavanagh, John 443, 520 Cooper, Gladys 48
Austen, Carole 548 Bjork 752 Central Saint Martins School of Art Courréges, André 490, 500,
Avalon, Frankie 495 Black, Cilla 500, 526 & Design 720, 736, 738, 513;'555, 560)
Avedon, Richard 420, 478, 502 Body Map 671 744, 749 Coward, Noél 224, 230
Bohan, Mare 622, 649, Chalayan, Hussein 721, 749 Crahay, Jules-Francois 623
Bacall, Lauren 395 672-3 Chambers, Dorothea Lambert Crawford, Cindy 729
Bailey, David 503, 505, 592 Bonaparte, Mr and Mrs Jerome 150 Crawford, Joan 171, 207 232,
Baker, Josephine 205, 207, Napoleon 303 Chambre Syndicale de la Haute 234, 290, 293, 298-301,
229, 384 Boucheron 122 Couture 189 318
Creed, Charles 343 Ekberg, Anita 516 Gardner, Ava 480 Harry, Debbie 705
Curtis, Jamie Lee 694 Elizabeth || 316, 418, 482 Gatti, Joan 143 Hartnell, Norman 140, 342, 373,
Daks 391 Elizabeth, Queen Mother 316, Gaultier, Jean Paul 671, 677, 418, 432, 482
Dali, Salvador 235 362 686, 699, 718, 726-7 Hazel 578
Davis, Bette 289 Emanuel, Elizabeth and David George V 34 Head, Edith 234, 268
Day, Frances 338 683 George VI 16 Hedren, Tippi 545
‘Dearing, Nell 367 Esterel, Jacques 455, 485 Gernreich, Rudi 491 Hefner, Hugh 463
Dejac 625 Evangelista, Linda 729 Gibb, Maurice 575 Heim, Jacques 198, 271, 371,
Delaunay, Sonia 162-3, 198 Evans, Alice 343 Gill, Marguerite and Frank 53 399
Demeulemeester, Ann 721 Evans, Linda 714 Gillie, Jean 408 Helvin, Marie 614
Deneuve, Catherine 503, 513, Eve 558 Ginger Group 579 Hermés 470, 516
523 Givenchy, Hubert de and house of Hepburn, Audrey 474, 478, 484,
Deslys, Gaby 63 Factor, Max 195 423, 426, 434, 445, 474, 486, 523
Dessés, Jean 428 Fahri, Nicole 721 478, 490, 720, 737-48, Hepburn, Katharine 476
de Villeneuve, Justin 4 Faithfull, Marianne 548, 613 744-7 Horrocks 448
Diana, Princess 683, 688-9, Falaise, Madeleine de la 467, Goldsmiths College of Art 525 Hulanicki, Barbara 490-91, 562,
709, 732-3 624 Gordon, Phyllis 309 570, 641
Dietrich, Marlene 234-5, 243, Farrow, Mia 607 Gore, Angela 608 Hudson, Sheila 617
248-9, 283, 318, 385, 476, Fath, Jacques 413, 425, 428, Grable, Betty 408 Hume, Marjorie 313

671 437, 442 Graham, Gwendlyn 169 Hunt, Marsha 586, 633, 644

Dior, Christian and house of 377, Fawcett, Farah 662, 675 Granny Takes A Trip 549 Hurley, Liz 731

410, 412-17, 419-20, 423-4, Federico, Sabine 717 Grateau, Marcel 204 Hutton, Lauren 674
428, 431, 435, 437, 440, Fendi 549, 720 Grés, Madame (Alix Barton) 51,
448, 464, 480, 490, 493, Ferragamo, Salvatore 386, 438 264, 329, 343, 384 Irving, Daisy 59

516, 518, 523, 534, 622, Ferrer, Mel 484 Grey, Gilda 174
649, 672-3, 685, 720, Fields, Gracie 369 Grierson, Ann 447 Jackson, Bee 167

Dolce & Gabbana 747, 754 Fila 678 Griffith, Melanie 684 Jacobs, Mare 720

Dohn, Anton 148 Flood, Marcella 322 Griffe, Jacques 437 Jacqmar 340

Donovan 607 Foale & Tuffin 491, 630-31 Gucci 412, 636, 720-21, 772-3, Jaeger 259

Dorothée Bis 491, 569 Fokina, Vera 55 776 Jagger, Bianca 575, 613

Dorothy Perkins 213 Fonda, Jane 596 Guinness, Lady Honor312 Jagger, Mick 575, 605, 613, 645

Dorville 434, 437 Ford, Tom 773, 776 Gunning, Anne 432 James, Charles 343

Doucet, Jacques 10, 51, 60 Forsythe, John 714 Jane 136

Drécoll 10 Fortuny, Mariano 51, 54, 56 Hale, Binnie 175 Jantzen 199

Dudeney 252 Foster, Jodie 587 Hall, Jerry 645 Jay, Isabel 22

Dufferin of Ava, Lord and Lady Fraser, Honor 724 Hall, Marguerite Radclyffe 173 Jenny (Sacerdote) 122, 127,

307 Freeman, Doreen 494 Halliwell, Geri ‘Ginger Spice’ 746 138-9

Duff Gordon, Lady ‘Lucile’ 10, 58 French Connection 721 Hallyday, Johnny 538 Johnson, Amy 247
Halston 511, 549, 653 Jones, Brian 605, 613
Dufy, Raoul 11
Gable, Clark 294 Hamnett, Katharine 671, 705, Jones, Grace 713
Dunand, Jean 162
Duncan, Isadora 50, 54, 122 Galliano, John 51, 671, 720-21, 720-21 Joplin, Janis 598

727, 732, 736-40, 743, 748 Hardy, Francoise 552 Jousse 686
Dupuy, Anne 686
Gap 720 Harlow, Jean 195, 234, 292, June, Lady Inverclyde 193

Earhart, Amelia 184 Garbo, Greta 205, 216, 226, 831,339

Eden, Sir Anthony 221 234, 242, 287, 318, 338 Harrison, George 607
Kamali, Norma 671, 675 Lee 601 Mainbocher 236, 267, 307, 311, Naf-Naf 717
Karan, Donna 671, 684, 775 Leiber, Judith 731 343-3 Naka of Milan 526
Kawakubo, Rei 768-69 Leigh, Vivien 331 Malo, Gina 266 Netti, Bruno 263
Keeler, Christine 510 Lelong, Lucien 174, 189, 206, Mangone, Philip 389 Netz, Brigitte 715
Kellie 620 413 Mansfield, Jayne 462 Newman, Bernard 284-5 —

Kelly, Princess Grace 470, 477, Lelong, Madame (Princess Natalie Margiela, Martin 720, 767 Newton-John, Olivia 695
482, 516 Paley) 207, 226 Margaret, Princess 316 Nicholl's 249
Kennedy/Onassis, Jacqueline Lempereur, Albert 413 Martinelli, Elsa 523 Nijinska, Bronislava 148
482, 511, 519, 564, 630, Lenglen, Suzanne 144, 148, Mary, Queen 16 Nike 670, 678, 717
652-3 oul Masters, Addie 451 Norell, Norman 481
Kennedy, John F. 482 Lennon, Cynthia 501, 607 Mates 533 Nureyev, Rudolf 652
Kent, Marina Duchess of 237, Lennon, John 501, 607, 613 Matthews, Jessie 206
316, 318 Lennox, Annie 686, 704 Mattita 159 Ogden, Jessica 752
Kenzo 548, 759 Leonard 4 Mattli, Guiseppe 436, 507 Olivier, Lawrence 224, 310
Keppel, Alice 39 Levi 601, 701, 716 Max 258 Onassis, Aristotle 564, 657
Khan Fashions 693 Liberman, Alexander 420 Maxwell, Vera 343 Ono, Yoko 613
Kimijima 672 Liberty 619 Miller, Gertie 49 Ozbek, Rifat 720-21, 765
Kinski, Nastassja 675 Lipman, Maureen 556 Milovskaya, Galina 553
Klein, Calvin 549, 684, 720, Locklear, Heather 714 Missoni 567, 662 Pallenberg, Anita 607, 613
774 Lollobrigida, Gina 438, 516, Miss Selfridge 609 Paltrow, Gwynneth 730
Knap 634 523, 657 Miyake, Issey 54, 614, 668, Paltrow, Bruce 730
Knapp, Sonja 488 Lombard, Carole 288, 320, 329, 670, 701, 769, 777 Paquin, Madame (Jeanne
Koshino, Michiko 760 338 Molineux, Edward 138, 208, Beckers) 10-11, 38, 53, 55,
Loos, Anita 216 224, 230, 316, 342-3, 349, 66, 122, 160
Lachasse 347, 427 Loren, Sophia 438 371, 405 Paraphernalia 491
Lacoste, René 148 Love, Courtney 753 Mondrian, Piet 490, 513 Parry 154
Lacroix, Christian 670, 672, Love, Mike 607 Monroe, Marilyn 454, 477, 481, Paterson, Ronald 415
703, 720 Loy, Myrna 266 486 Patou, Jean and house of 67,
Lady Jane 491 Lukas, Paul 287 Montana, Claude 690, 712 122-3, 130, 144, 146, 152,
Lagerfeld, Karl 651, 670, 702, Lulu 575 Moore, Demi 754 161, 180, 187, 199, 413,
foe rial Lumley, Joanna 499, 644 Moore, Jill Esmond 310 642, 649
Lake, Veronica 407 Lynn, Vera 368 Moran, Gertrude ‘Gussie’ 473 Paulette, Madame 474
Lamour, Dorothy 234, 268 More, Kenneth 523 Pavlova, Anna 54 ae
e
Landis, Carole 366 McCardell, Claire 169, 302, Mori, Hanae 614 Péron, Eva 419
Lang, Helmut 720, 767 343, 355 Morrell, Lady Ottoline 41 Pethick-Lawrence, Emmeline 69
Langtry, Lillie 17, 60 McCartney, Paul 607 Morton, Digby 299, 342, 350 Philip, Duke of Edinburgh 482
Lanvin, Jeanne and house of 66, McCartney, Stella 720, 776 Mosca, Bianca 436 Philippe & Gaston 139
122,127, 137, 164,575; McComas, Carol 8, 38 Moschino, Franco 717 Piguet, Robert 267, 349
610, 623, 703 McGowan, Cathy 524 Moss, Kate 751 Poiret, Paul 10-11, 30, 37, 55,
Lapidus, Ted 610 Mackaill, Dorothy 195 Mountbatten, Lady Edwina 218 57-9, 62, 118, 122, 173,
Lauren, Ralph 549, 629, 730 McLaren, Malcolm 549, 666 Mountbatten, Patricia 218 229, 235, 666
Lawrence, Gertrude 193, 224, McQueen, Alexander 720-21, Mr Freedom 571 Polanski, Roman 575
230, 272 727, 742-4 Mugler, Thierry 671, 690 Pollen, Arabella 688
Lebouvier, Blanche 191 Madonna 705, 707, 718, 726 Muir, Jean 509, 549 Pollock, Alice 616, 620
Ledoux, Fernand 626 Maharashi Mahesh Yogi 607 Miji 720 Polly Peck 434, 437
Porter, Thea 491, 617 Sabrina (Norma Sykes) 465 Tate, Sharon 575 Vyner, Margaret 340
Prada, Miuccia 670, 678, 720, Saint Laurent, Yves 173, 490, Taylor, Elizabeth 471, 516, 540,
772-3 510, 513-14, 518, 548, 545, 559, 587 Wakeley, Amanda 733
Printemps, Yvonne 206 610, 617, 624, 628, 630, Tennant, Stella 745, 747 Walker, Catherine 733
Pucci, Emilio and house of 413, 632, 650, 703 Thalberg, Irving 222 Wallace, Thomas 366
438, 449, 461, 476, 491, Sander, Jil 720, 752 Thatcher, Margaret 653 Wallis 507
658, 728 Sassvon, Vidal 488, 542, 545 Théatre de la Mode 343, 388 Warehouse Utility 618
Schiaparelli, Elsa 199, 235, Three Degrees 647 Warhol, Andy 490
Quant, Mary 4, 490-91, 497, 244, 247, 250, 259, 318, To Jump Like Alice 570 Weegee (Arthur Fellig) 463
500-51, 525, 531, 542, 328, 448 Tomchin, Julian 528 Welch, Raquel 573
545, 579, 603, 648 Scherrer, Jean-Louis 692 Top Shop 721 West, Mae 328
Quorum 491, 620 Schiffer, Claudia 779 Torrens, Debbie 570 Westwood, Vivienne 549, 666,
Scott James, Anne 346 Townley Frocks 343 671-2, 692-3, 724-4, 735,
Rabanne, Paco 552, 555, 560, Seaton, Jean 335 Trowbridge, Lady Una 173 762
602, 691, 734 Seberg, Jean 487 Tubes 667 Willis, Bob 575
Radziwill, Princess Lee 652 Seditionaries (SEX) 549, 666 Tucker, Michelle 590 Wilson, Edith 167
Rainier, Prince of Monaco 470, Sellars, Irving 533 Turlington, Christy 729 Wilsons of Great Portland Street
482,516 Shaw, Sandie 500 Twiggy (Leslie Hornby) 4, 490, 161
Rampling, Charlotte 573 Shearer, Norma 222, 318 542, 545, 556, 592,619, Windsor, Duchess of (Wallis
Raymond 486 Shrimpton, Jean 543, 545, 592 729 Simpson) 236, 238, 304,
Rayne, Edward 469 Sieber, Rudy 243 Sli
Réard, Louis 399 Simonine, Melnotte 124 Ungaro, Emanuel 488, 491, 615 Windsor, Duke of 238, 311
Redfern, John and house of 10, Sinclaire, Paul 302 Usher, Frank 434 Worth, Charles Frederick and
43, 227 Sitbon, Martine 753 house of 6, 10, 55, 320
Rhodes, Zandra 548-9, 619 Smith, Paul 752 Valerie, Joan 273 Wozikowski, Leon 148

Ribeiro, Clements 721 Smyth, Dame Ethel Mary 68 Valentino (Garavani) 438, 520, Wrangler 601
Ricci, Nina 648, 684 Snow, Carmel 412, 420 549 Wynyard, Diana 270
Richard, Cliff 494 Sokolova, Lydia 148 Valli, Virginia 217
Richards, Jocelyn 505 Springfield, Dusty 545 Vanderbilt, Gloria 601 Yamamoto, Yohji 670-71, 701,

Richards, Keith 613 Stark, Pauline 207 Vandevorst A. F. 767 766, 769-1,
Richemont 720 Starke, Frederick 430, 450 van Noten, Dries 748 Yamamoto, Kansai 614

Richmond, John 671 Sten, Anna 296 Varon, Jean 627 Yuki 614
Riley, Bridget 528 Stiebel, Victor 253, 266, 342 Vartan, Sylvie 538
Rive Gauche 490, 513-14, 624 Stewart, Eleanor 273 Versace, Donatella 728 Zara 721

Rochon, Ann 602 Stockbridge, Sara 724 Versace, Gianni 728-9, 731, Zoran 720

Rogers, Ginger 234, 284-5 Stone, Paulene 532 153

Rolande 152 Storey, Helen 671 Veruschka (Van Lehndorff) 505,
Ronay, Edina 598 Strassner, Joe 264 658
Ross, Diana 545 Streisand, Barbra 502 Vionnet, Madeleine 51, 118,
Rosslyn, Lady 307 Sui, Anna 761 122-3, 138, 140, 235, 264,
Rouff, Maggie 384 Supremes 516 298, 343, 742
Russell, Jane 417 Swanson, Gloria 151, 207 Vivier, Roger 469, 502

Russell, Rosalind 287 Sweeney, Frank 539 Volpato, Bianca 537

Rykiel, Sonia 549, 569, 602, Vreeland, Diana 420, 478

691, 734 Talmadge, Constance 20 Vuitton, Louis 469, 717, 720

 gettyimages
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Archive Photos: front cover, 256, 322, 323, 485, 504, 505, 662, 663, 686 (a), 769 (I); ABC 714; Archive France 716;
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Orion Pictures 707; Reuters: 772 (r), Paolo Cocco 773 (I), Jack Dabaghian 738, 744-5, Kieran Doherty 746, Paul Hackett 750 (I),
Jean-Christophe Kahn 769 (r), Sam Mircovich 726, Peter Morgan 775 (|), Fred Prouser 730, 753, Stefano Rellandini 747,
Brad Rickerby 761, Martin Thomas 752, Gareth Watkins 727 (r); Joseph Sia 704; Unimedia 695 (r); United Artists 696;
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Consolidated News 596; Steve Eason 755; Ernst Haas Studio 459, 484; Images N.Y. 653 (I), 675 (1,n), 706;
The John Kobal Foundation 207, 248, 264, 282 (I), 283, 285, 293, 295, 297, 298, 299, 301, 320, 328, 338, 395, 406, 452, 48¢
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© Weegee/International Center of Photography 462, 463,
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Jean Giuchard 414; Andy Hall/FSP 748 (r); lan Jones/FSP 732 (|); Kan/FDC 764; Kaku Kurita 677; Gleb Kosorukov 762;
Patrick McMullan 774; M. Ponomareff 676; Rodriguez 705 (I); Sander 711 (a); Enzo Signorelli 728; Daniel Simon 669, 684 (r), 685,
690-93, 698, 701 (all), 702, 703 (all), 724 (r), 736-7, 739, 743, 751, 768; Daniel Simon/William Stevens 748 (I);
Dave Benett Spooner 724 (I); William Stevens 742 (r); Gerd Uferas/Rapho 766-7, 778; van der Stockt 741.
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 FASHION
Flappers and flower power. Thirties glamour and Eighties excess.
From the corsets of the Belle Epoque to the kaftans of the —
Seventies, Decades of Fashion catches the pulse of twentieth-
century fashion in hundreds of photographs from the catwalk,
the street and the silver screen. Designers Coco Chanel, Mary
Quant and Alexander McQueen. Icons Marlene Dietrich, Jackie O
and Twiggy. Maxi-coats and mini-skirts, tango-dresses and trainers.
An irresistible insight into one hundred years of fashion.

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