1900s Victorian Dresses to Draw or Paint

Jeanne Paquin (1869-1936), mode blueprint, Paris, 1907. Museum no. Due east.1432-1957

1900s

For most of the first decade of the 20th century, fashion mainly showed seasonal modifications rather than any fundamental changes. However, as the century unfolded, the concept of the 'natural effigy' banished the corseted and exaggerated S-shaped figure that was fashionable at the offset of the decade. These innovations, a meaning liberation for women, were accompanied by the introduction of strong and vibrant colours.

'Originality and Opulence': the House of Paquin

In 1890 Jeanne Paquin (1869 - 1936) and her husband Isidore Paquin opened their Maison de Couture Rue de la Paix in Paris, close to the celebrated Firm of Worth. Paquin presently became famous for introducing coloured lining to otherwise mournful looking black coats, and for adding embellishments of lace or rich embroidery to black dresses. The innovative even so subtle use of furs became 1 of the house'due south trademarks. In an age when style advertising was in withal in its infancy, Jeanne Paquin was the offset couturier to send mannequins to the trend-setting and tendency-spotting races at Longchamp and Chantilly.

In 1900 Jeanne Paquin was elected president of the Fashion Section for the Universal Exhibition and, throughout her career, many of her creations participated to those international fairs. The originality and opulence of Paquin'southward designs soon bolstered the international reputation of the style business firm. One of her greatest achievements was the opening of strange branches in Buenos Aires, Madrid and London - she was the first Parisian couturier to have this step and many followed her pb. She was the first woman in her field to exist awarded the Légion d'Honneur in 1913.

At Jeanne Paquin's death in 1936, the business firm passed into the hands of the Spanish couturier Antonio Canovas del Castillo. Paquin bought the House of Worth in 1953 but closed its doors on 1 July 1956. The 5&A has a magnificent collection of Paquin sketch books, ranging from 1897 to 1956.

1910s

The 1910s were a period of dramatic alter in fashion. Though many trends had their roots in fashions of the previous decade, the First Globe War cemented the motility towards more practical, less restrictive clothing. As women were called into factories and offices, fashionable dress simplified and shortened.

Florrie Westwood

Florrie Westwood (dates unknown) was a London designer active in the early part of the 20th century. Nothing much is known about her apart from her drawings, from which we tin can come across that she produced elegant high-end, if conservative, fashions. Many hundreds of now-anonymous dressmakers and designers like her existed in towns and cities beyond the country until the middle of the 20th-century mass-market ready-to-vesture clothing came to dominate fashion.

ane) Florrie Westwood, fashion design, London, 1918-9. Museum no. E.1539-1977

i) The three 'Original Designs' in the paradigm from 1918 - 1919 are very typical of the late 1910s. They feature high waists and feminine materials and colours. They as well conceptualize the androgynous look of the 1920s with their linear, straight silhouettes. The designer's ain descriptions of the dresses, written next to them are:

'Left: Clothes of mauve taffeta and ninon, with insertion of ivory lace. The sash is of mauve ribbon to match the dress.

Centre: A simple evening frock of powder blue satin & crush pink tulle. The wide sash is pansy black ribbon with vivid appliqué orangish flowers.

Right: Frock of ivory crepe georgette, with ii deep bands of peach coloured self textile. The insertion is very fine lace.'

2) This fashion illustration portrays three afternoon apparel designs drawn in pencil and colour wash. Information technology is signed and dated by the creative person. Such a collection of designs seen together demonstrate the increasing tendency for women to abandon the restrictive corset. During the early on years of the 1910s, designers started to promote the utilise of lighter and softer fabrics in order to make their creations increasingly free flowing. This new approach focussed on fluidity provided a contrast with the stiff and Southward-Bend silhouettes of the previous decades.

iii) These 4 dissimilar designs for wintertime coats by Florrie Westwood are dated 15 January 1919. They emphasise the new style for the linear silhouette and ankle length designs. They likewise evidence the new shape (higher neck covering and greater shoulder coverage) of fur collars and cuffs.

3) Florrie Westwood, way design, London, 1919. Museum no. E.1538-1977

2) Florrie Westwood, way design, London, 1918. Museum no. E.1536-1977

Melanie Vermont

The designs past Melanie Vermont (1897 - 1972) in the V&A collection were given to the museum by Mrs M. Goldflame, the niece of the artist. At that fourth dimension, Mariano Fortuny (1871 - 1949), a Spanish designer based in Venice, invented a new special pleating process and new dyeing techniques for his dress designs. His innovative designs were inspirational to other designers, but as well hugely successful as they gave women the freedom of movement they had been craving.

4) These two evening clothes designs in pencil by Melanie Vermont in the epitome to the correct are good examples of how, at that flow of time, designers increasingly used flowing material which enabled them to create dresses with elaborate drapes, thereby moving away from the restrictive corsets fashionable in the previous decade. During the early on years of the 1910s, designers started to promote the utilize of lighter and softer fabrics in order to make their creations increasingly free flowing. This new approach focussed on fluidity provided a dissimilarity with the potent and S-Bend silhouettes of the previous decades. The tunic in the right hand pattern is made out of pleated material.

5) This illustration shows five designs for girls costume in pencil and colour launder. In this decade, the emphasis for children's wearing apparel inverse from the waist to the hip, and dresses and skirts likewise became shorter (higher up the knee) as shown in these designs. The central figure is wearing a green coloured day apparel with a pleated skirt and an elaborate belt which matches her small collar and the sleeve gage. As well shown are two glaze designs. The second figure to the left is wearing a white and red chequer brusque coat with Alamo buttons whereas the farther figure on the right is wearing a white and navy striped coat with crewman navy collar and matching cuffs.

4) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. E.957-1977

5) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. E.954-1977

---

1920s

Developments in mode following the war were profoundly influenced by the changing attitudes of women. Younger women were empowered past their wartime independence and deliberately flouted the style preferences of their mothers' generation for flounces, frills and lace. They cropped their hair and wore skirts to the knee, with elementary, linear dresses that gave them a boyish silhouette.

Norman Hartnell

6) Norman Hartnell (1901-79), fashion design, London, 1920s. Museum no. Eastward.29-1943

London-built-in Norman Hartnell (1901 - 79) ready upwardly his fashion firm in 1923 and shortly became famous for his lavish and romantic evening and bridal gowns. Hartnell is credited with introducing the longer-length skirts that would marker the end of the flapper era and his designs were sought later by the sophisticated British 'elite'.

Very much a 'gild' dressmaker, Hartnell is, yet, possibly best known for his long-standing association with the English language Royal family unit. He designed the dress worn by Queen Elizabeth for her wedding ceremony to Prince Philip, the Duke of Edinburgh in 1947, every bit well equally her coronation robes in 1953. In 1977, Hartnell was appointed KCVO, the first knighthood conferred for services to fashion.

6) Hartnell designed this wearing apparel with ii materials in mind: the under wearing apparel is of solid material and is covered from shoulder to hem with chiffon. The clothes has a boat cervix line with tight sleeves up to the elbow where they fan out with 'scollop' edging. This matches the hem of the clothes. Hartnell supplemented the design with a beaded belt with tassels, matched with a band of beads on the sleeves. The design too shows a large head band with sparkling embroidery. The simplicity and grace of this clothes would have been perfect for the fashionable cocktail parties of the era.

Hilda Steward

Zilch much is known about Hilda Steward apart from her drawings, from which nosotros can see that she produced elegant high-end fashions. Many hundreds of now-anonymous dressmakers and designers like her existed in towns and cities beyond the land until the centre of the 20th century, when mass-market ready-to-wear vesture came to dominate mode.

vii) This sleeveless evening wearing apparel was designed past Hilda Steward in 1920 appears to be made in satin with a brusk lace three layer overskirt hanging from the belt. The chugalug is slightly higher than the waist in the front and supports the overskirt but from the side to the dorsum - leaving the front completely free.

The figure is wearing a bracelet above the elbow and a large head band typical of the 1920s to concur the new short stylish hair cut. The designer's signature appears in the bottom right hand corner in the course of her two initials overlapped, including the date running alongside it in a vertical strip.

8) This is a blueprint for an orange day dress with an overskirt made past 2 pleated panels. The effigy is holding a fur wrap which looks like Sable; it matches some fur details on the dress including those on the hem. The large brim black hat has two Ostrich feathers.

The belt is to be held by a gold decoration. The designer'southward signature appears in the bottom right mitt corner in the form of her ii initials overlapped, including the date running alongside it in a vertical strip.

eight) Hilda Steward, manner design, London, 1923. Museum no. E.1039-1988

seven) Hilda Steward, way blueprint, London, 1920. Museum no. E.1045-1988

Victor Stiebel

Victor Stiebel (1907 - 73) was born in South Africa in 1907 but settled in England in 1924. After working for iii years at the House of Reville, he opened his own fashion house in 1932. A founding member of the Incorporated Society of London Style Designers, Stiebel was appointed its Chairman in 1946. Stiebel was highly successful and his clientele included the leading actresses of the day, but also royalty and members of the aristocracy. He created the going-away outfit for Princess Margaret on her marriage to Lord Snowdon in 1960.

The designs past Victor Stiebel in the V&A collections encompass the period from 1927 to 1935.

nine) The confront of the model in this cartoon, with the heavily emphasised eyes, follows the tradition established by silent-screen star Theda Bara, who popularised the discussion 'vamp' (a wrinkle of vampire, which she played in 1 of her films) to mean a predatory female person, whose heavily khol-encircled optics were her nearly memorable feature.

The combination of hair and neckband throw emphasis onto the eyes and claret red lips. The bare left shoulder is balanced by the weight of the hair being also on the left, while the blank shoulder and leg, at one time revealed and concealed by the fabric strips, hint at intention and concealed delights.

ten) This is a Stiebel blueprint for an evening gown in black and silver with an appliqué or embroidered snaked coiled round it from an uneven hem to bodice. Information technology is striking and original in all its details. The within of the dress is lined in light-green - this contrasts the black outside.

The wearing apparel has a square cervix line with large shoulder straps. The model is wearing a pearl chocker with matching earrings and bracelet. The short bob hair cut with a fringe was typical of this era. At that place is a slight sketch for a apparel on the mountain of this design.

9) Victor Stiebel (1907-76), mode design, London, 1928. Museum no. S.545-1983

10) Victor Stiebel (1907-73), fashion design, England, virtually 1927. Museum no. E.1077-1983

1930s

Following the crash of 1929 and the Corking Depression, new, more downwards-to-earth attitudes forced on the world offered great scope for a new simplicity, as encapsulated by Coco Chanel (1883–1971). In Britain, manner became more eclectic merely also more feminine and graceful and, by 1930, the 'adolescent' wait had disappeared.

Victor Stiebel

11) Manner blueprint, by Victor Stiebel, London, 1933. Museum no. Southward.544-1983

Since the mid 19th century, couturiers had dressed major theatrical stars. Victor Stiebel (1907 - 1976) had designed productions while at university, before working in dress design at the House of Reville. In 1932 he opened his own fashion house and was soon in demand to provide contemporary costumes for leading actresses. Mary Ellis, for whom this costume was designed, was a leading extra and vocaliser, and to wearing apparel her in a prestigious musical written by Jerome Kern and Oscar Hammerstein 2 and produced by C B Cochran would accept been an splendid advertizing for the young couturier. He designed all her dresses in the production and those for her co-star, Eve Lister, and all the modern clothes in the Zoo and rehearsal scenes; the residual of the costumes came coming from the Cochran wardrobe and the costume business firm of Morris Angel & Son.

11) The apparel was the superlative of chichi, with its huge pleated shoulders, assuming bow, nipped in jacket and long skirt. The gauntlet gloves helped balance the wide shoulders, while the large bow drew attention to the face. Although the pattern is coloured pale orangish, the notes indicate that it should be made in chartreuse green satin, contrasting with the brim's slow fabric and the exotic fur of the gauntlet gloves. Such designs were meant to flatter the wearer rather than the wearer exist subservient to the designer and the leading lady would have had approval and maybe fifty-fifty a choice in the couturier.

12) The flared lower skirt of this blue apparel by Stiebel is an example of the new cut introduced in this decade. The cut is characterised past its simplicity and Stiebel introduced a collar with a bow and tall cuffs all designed with multi-coloured ribbon to break the monotony.

These details match the slim orange belt. There is an inscription in pencil reading: "I am enclosing $.25 of ribbon the type I should similar for the collar and cuffs".

13) In the 1930s it became fashionable to wear 'house pyjamas' – trousers with large bottoms made in a soft material. This design by Victor Stiebel shows how this concept could be transformed for more formal occasions from business firm cocktails to cruise parties.

Similar designs were too created by the Surrealist designer Elsa Schiaparelli. Stiebel'southward halter neck, sleeveless elevation contrasts the large bottom trousers wonderfully. The pattern includes brilliant orangish gloves, a brim hat and matching shoes.

12) Victor Stiebel (1907-76), way design, London, 1934-v. Museum no. Eastward.1075-1983

13) Victor Stiebel (1907-76), fashion design, London, 1934-5. Museum no. E.1074-1983

Norman Hartnell: fashioning royalty

14) Mode design, by Norman Hartnell, London, 1936-9. Museum no. E.37-1943

In 1935 Norman Hartnell received his commencement Royal commission and from that moment correct up to his death in 1979 he continued to create original designs for the Royal family, important members of British society, also as international figures. The V&A collections contain a peachy number of examples of Hartnell's pre-war designs reflecting his highly sophisticated, elegant, and unsurpassed apply of material and embroidery. These two After Six dresses were designed for H.R.H Princess Elizabeth; both are extremely feminine and delicate.

14) This evening dress was designed for H.K. Queen Elizabeth. A pencil inscription 'Gala' at the bottom of the page suggests that it was designed for an important occasion. The dress is entirely covered with an array of coloured sequences and would have undoubtedly bedazzled fellow guests. The gunkhole line neck is also trimmed with sequins; the sleeves are 3-quarter in length and embroidered to the tip of the shoulder.

The back has a long detached trail also fully embroidered edged with bluish and pink patterned sequins in the shape of pyramids. The Queen is depicted wearing a diamond tiara. This ensemble is further enriched by elaborate pearl necklace and matching earrings. Across the left shoulder the Queen is also shown wearing a majestic sash - supported past a ruby and diamond jewel. This apparel exemplifies Hartnell's skill in designing dresses with elaborate embroidery.

xv) This design is a total-skirted tier wearing apparel with minute waist with tiered yoke forming puff curt sleeves. The skirt is all threaded with light blue coloured ribbon which emphasises the dissimilar layers. The wearing apparel is worn with matching jewellery and gloves.

The second design in pinkish net has a pointed waist band which holds a full net brim scattered with pale blue ribbon. The body has a small heart shaped decolté trimmed with the same blueish ribbon and the sleeves are exaggerated short and puff. In addition there is a flower decoration on the left side of her cervix.

16) This design for a formal evening wearing apparel was specially created for H.M. Queen Mary. The dress falls in a straight line with a slight trail at the back. The elongated v-neck line is trimmed with lace.

On top of the dress he created a loose jacket with sleeves trimmed with Mink fur and edged with lace. This luxurious ensemble is completed with a magnificent row of jewels at the neck and a sparkling tiara.

16) Norman Hartnell (1901-79), fashion design, London, 1930s. Museum no. E.19-1943

fifteen) Norman Hartnell (1901-79), fashion pattern, London, 1930s. Museum no. E.xv-1943

---

1940s

World State of war Two had a profound effect on style and it became regulated and framed by government decrees. However, despite these strict regulations and the fierce upheavals brought about by war, couture blueprint, led by a talented grouping of dressmakers, flourished.

The New Look

'I designed apparel for bloom-similar women, with rounded shoulders, full feminine busts, and hand-bridge waists above enormous spreading skirts.'

It is with those words that Christian Dior (1905 - 57), described the impact of his first drove in the Jump of 1947. At the time, rationing was notwithstanding in place and austere, military styles were worn. Dior introduced hourglass silhouettes and luxurious fabrics, softening previously boxy shoulder pads and cinching the waist for a pronounced feminine look. So pop was his kickoff collection that it was dubbed 'the New Look' by the press and was instantly emulated by designers across the world.

17) Fashion design, by Marjorie Field for Field Rhoades, London, 1940s. Museum no. Eastward.426-2005

17) This pattern by Marjorie Field depicts a adult female wearing a tailored, printed adapt and a large hat decorated with feathers on both sides. A double-row of buttons are sewn onto the waistline of the jacket giving an impression of a small waist. In her correct hand, she holds an umbrella made out of the same material every bit the suit. Marjorie Field was a high-end London designer, who quickly adopted Dior'due south fashionable New Wait silhouette into her designs.

eighteen) Italian-born René Gruau (1909 - 2004) moved to Paris in 1924 and started his career as fashion illustrator in the nearly prestigious magazines, including L'Officiel and Marie Claire. His collaboration with Christian Dior started in 1947 and Gruau, who perfectly captured the essence of the New Await, soon became an acclaimed effigy in the world of Haute Couture. This drawing was deputed for the fashion magazine 'Femina' around 1949.

19) This is a design by Bernard Blossac (1917 - 2001). Blossac was a fashion illustrator, who regularly drew for Vogue, L'Officiel and Harper'due south Bazaar. This drawing depicts a blackness bolero with a floral pattern in the 'New Await' style.

eighteen) René Gruau (1909-2004), style illustration, Paris, 1949. Museum no. E.397-1986

nineteen) Bernard Blossac (1917-2001), fashion illustration, Paris or London, tardily 1940s. Museum no. E.167-1987

Marjorie Field

Marjorie Field (Field Rhoades), style design, London, 1940s. Museum no. E.430-2005

The V&A has a substantial drove of high quality designs by Marjorie Field for the couture firm Field Rhoades. The provenance of these designs tin be traced back to Gwen Mandley, an artist and friend of the designer. Field Rhoades was registered in the London street directories at 77, South Audley Street, London W1 for the years 1948–49; this corresponds to the engagement of the designs found in this collection. Marjorie Field also designed nether the proper name, or for the business firm, 'Matita'. Matita were a loftier-end ready-to-wear company who regularly advertised in Vogue during the 1940s.

20) Style design, by Ursula Sternberg-Hertz, London, almost 1947. Museum no. East.844-1989

Ursula Sternberg-Hertz

Ursula Sternberg-Hertz was a well respected painter who exhibited extensively in Europe and the US. In the 1940s, she submitted a competition entry to the Ascher material firm in London, who were renowned for working with fine artists to create patterns and designs for silk scarves and furniture fabric. She won 3rd prize but worked for the Ascher Studio for a yr and for many years as a free-lance designer.

twenty) This painted sketch of a fashionably dressed female figure decorates the front board of Ursula Sternberg Hertz's binder of designs for textiles and dress, oiginally submitted to Ascher as function of an entry competition. This assuming and colourful lath demonstrates the importance the designer gave to overall presentation. The inscriptions are in watercolour and read 'Sender Ursula Sternberg-Hertz London 30 Ch. De Boitsfort Bruxelles and Ascer Wigmore Street London'. The folder is held together with a green velvet ribbon.

---

1950s

Oftentimes associated with the rise of youthful, set up-to-wear fashions, the fifties were nevertheless a prolific and successful decade for the fashion 'establishment' as embodied past couture houses and traditional dressmakers. Fashion illustration continued to flourish in the plethora of magazines published at the time.

Sigrid Hunt

Sigrid Chase (later Roesen) was a style illustrator and editor. She came to England from Berlin in the early 1930s and worked for prestigious publications including Faddy, Tatler, and The Sketch. From the belatedly 1950s to 1971 she worked in Frg for the Sudkurrier Welt der Frau and Die Mode.

The various preparatory phases shown for the Tatler front cover of 5 May 1954 hither illustrated are a good example of the procedure and various stages of mag analogy.

Sigrid Hunt, pencil sketch, Uk, 1954. Museum no. E.687-1986

Front cover of Tatler, featuring design by Sigrid Hunt, 5 May 1954. Museum no. Eastward.684-1986

Sigrid Hunt, color pattern, Britain, 1954. Museum no. E.685-1986

Jean Demarchy

Jean Demarchy (dates unknown) was a 1950s way illustrator who worked in soft pastels to create romantic, abstract, images of couture. Arguably, illustrations such as these fitted amend with the luxurious and feminine platonic of couture than photography. These illustrations, especially from the Stiebel drove of 1953, display some of those shared aesthetics in the way they convey the soft, tactile nature of the fabrics.

However, the privileged status of mode drawing faded apace during the 1950s, and photography soon gained more prominence in post-war magazines that wanted harder-hitting imagery.

21) This epitome was drawn for Harper'due south Bazaar effectually 1955. It shows a glamorous evening dress by Christian Dior (1905–57), featuring a full skirt and elaborate bustle bow.

22) This illustration features an evening dress by the London couturier Victor Stiebel (1907-76), drawn for Harper's Bazaar in 1953. Stiebel liked using bold, contrasting stripes in his designs, and also typically referenced historical dress with voluminous panniers and bustles.

21) Jean Demarchy, fashion illustration, Paris or London, well-nigh 1955. Museum no. Eastward.685-1997

22) Jean Demarchy, fashion analogy, London, 1953. Museum no. Due east.686-1997

---

1960s

Earlier the tardily 1950s and 1960s, teenagers were expected to dress and deport very much as their parents. The 'Swinging Sixties', however, saw the emergence of a new youth market as teenagers rebelled against the aesthetics and values of their parents' generation and established their own trends in fashion and music.

Amid other things, the mini-skirt was introduced, and couture was seen as very old-fashioned. London - not Paris - was leading fashion now, nurtured past the city's fashion schools and colleges, who were providing creative environments for crops of young, talented designers.

Mary Quant

23) Mary Quant (b.1934), manner pattern, London, mid 1960s. Museum no. Due east.520-1975

The daughter of Welsh school teachers, Mary Quant (built-in 1934) gained a diploma in Fine art Educational activity from Goldsmith's College, London. In that location she met Alexander Plunket Green, who later became her business organization partner and hubby. Apprenticed to a milliner, Quant began to make her own clothes. These were influenced past the Chelsea beatniks she knew and dance outfits she remembered from childhood lessons.

In 1955, at a time when 'mode wasn't designed for young people', Quant opened Boutique, a boutique on the King'southward Road. She devised heart-catching window displays to attract customers. Her clothes were made up of simple shapes combined with strong colours like crimson, prune and green. Prices were low compared to those charged for haute couture.

Famed for popularising the mini skirt, in 1966 Quant was awarded an OBE. In the early 1960s her designs were bought past the chain shop J.C. Penney to be mass produced for the American market. The Quant label began to appear worldwide on accessories and brand-up.

23) This blueprint has a liberty bodice, long narrow sleeves and a front vertical zip. The skirt is very short and trimmed on the edge with a yellow colour. The aforementioned colour tights are worn. There is a pocket-size babe collar and a very narrow chugalug with a front end buckle. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and continued for quite a while later on this.

24) This bold design for a putty aubergine mini dress is made with a small-scale liberty bodice with a total mini skirt attached to it. The top of the wearing apparel has a moo-cow neck in yellowish material inside and on the outside is beige with yellowish.

There is a matching head scarf, belt and cuffs. Mini skirts and dresses were a highly fashionable new tendency in the late 1960s and connected for quite a while afterward this.

25) In this blueprint Mary Quant decided to ignore the waist and added a very short frill skirt attached to the body of the dress creating the 'mini' result. The sleeves are very short and divisional past slippery child red leather. The principal apparel is made out of pink Jersey wool.

The collar and the front slit are all bounded by the same slippery kid leather every bit the sleeves, the leather has brass eyelets to enable the threading of shoe lace type ribbon. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and connected for quite a while subsequently this.

24) Mary Quant (b.1934), fashion design, London, mid 1960s. Museum no. East.525-1975

25) Mary Quant (b.1934), fashion blueprint, London, mid 1960s. Museum no. Eastward.523-1975

---

1970s

The 1970s were a pioneering decade, and saw the evolution of fashion into a declaration of individuality. Seen as the reflection of the taste of the wearer, one of the consequences of these sartorial changes, was that fashion increasingly, became the concern of men as well equally women.

'Manly Sweater' way design, by Patrick Caulfield for Ritva, London, 1972. Museum no. E.413-2005

Ritva and Patrick Caulfield

The Ritva knitwear firm was prepare by Mike and Ritva Ross in 1966, producing revolutionary machine-knitted womenswear in bold colours and slinky shapes. These were sold in some of the most fashionable section stores and King's Road boutiques, and from 1972, in the Ross'south own shop.

A new direction in men's knitwear came in 1969 when Mike Ross designed a line of appliquéd 'Ritva Man'southward' sweaters inspired by baseball shirts (the V&A collection includes a prototype, Museum no. T.14-2000). Each sweater was unique, with its ain colourway.

This led to the Artist Collections of 1971 and 1972, when Ross invited creative person friends, including David Hockney and Elizabeth Frink, to blueprint 'wearable works of art'.

Artist Patrick Caulfield's (1936-2005) 'Manly Sweater', with its appliquéd leather patches and 'trompe l'oeil' pipe, is an ironic version of traditional 1950s masculinity. The 5&A has besides acquired Caulfield'southward original drawings for the sweater and seen together these stand for an unusual document of a collaboration betwixt art and fashion.

This coloured pencil drawing on paper includes an element of collage. One smaller piece of paper with a single drawing is mounted on a larger slice of paper with further drawings. Drawings depict various versions of a pipe and breast pocket. I breast pocket drawing also depicts an image of a bird. Some annotations on black pencil, including the artist's proper name and championship 'P C Manly sweater'.

Patrick Caulfield (1936-2005) for Ritva, 'Manly Sweater' style design, London, 1972. Museum no. E.414-2005

Patrick Caulfield (1936-2005) for Ritva, 'Manly Sweater', London, 1972. Museum no. T.18-2000

John Bates

A prolific and innovative designer, John Bates (b.1938) often incorporated metallic, plastic and transparent fabrics in his creations. He is mayhap best remembered as the designer of Diana Rigg'south wardrobe for the television serial The Avengers in 1965.

26) This 1978 dress in silk is an interesting blueprint with square shoulders and blouson body and an intricate cut full brim. There is a tie chugalug around the waist and the sleeves take flare cuffs similar to the loftier collar.

27) This 1974 design is for a long printed Kaftan with an undulated bottom. The sides are finished with tassels. The print is particularly cute and individual you can see the detail of stylised flowers and birds. This is complemented by edge stitching around the Kaftan. The exotic element to this design makes it particularly striking.

26) John Bates (b.1938), fashion design, London, 1978. Museum no. E.570-1975

27) John Bates (b.1938), fashion blueprint, London, 1974. Museum no. E.569-1975

Zandra Rhodes

A graduate of the Royal College of Art, Zandra Rhodes (b.1940) became famous for her prints on chiffon, and her use of flamboyant, bright colours. Her designs were considered too extravagant past British manufacturers and she set up up her own retail outlet on Fulham Road, London, in 1969. Rhodes' extravagant advent and style often attracted considerable publicity. She is credited with having introduced Punk fashions to the style manufacture with her 1977 collection entitled Punk Chichi.

Zandra Rhodes (b.1940), pattern for a fur coat, London, 1970s. Museum no. C.282-1974

Zandra Rhodes (b.1940), pattern for a fur coat, London, 1970s. Museum no. C.286-1974.

Bill Gibb

28) Nib Gibb (1943-88), fashion design, London, 1970. Museum no. Due east.123-1978

Nib Gibb (1943–88) was a way designer whose creations divers the 1970s expect. He opened his bazaar Alice Paul in Kensington in 1967 and first designed for the youth market, with make clean lines that bore the imprint of gimmicky trends. In the 1970s, his manner adult along eclectic and romantic lines inspired by the hippie scene and by medieval and pre-Raphaelite painting.

28) This is a fashion design for a long pleated skirt, long-sleeved blouse, laced jerkin and cloche chapeau, with ii fabric samples attached. This blueprint featured in Vogue in 1970, and the Sunday Times amidst other magazines. This design shows how unlike wool fabrics are used with contrast colour and pattern.

29) Jacket design with beret.

30) This is a design for a printed leather and suede pattern jacket with a hood. The Patterns seem influenced by indigenous designs. Other designs in the later 70s started to use a mixture of dissimilar fabrics and colour, for example leather with chiffon) This design is a good case of how leather was processed in a more fashionable and colourful way during this period.

29) Bill Gibb (1943-88), manner design, London, 1976. Museum no. E.127-1978

30) Bill Gibb (1943-88), fashion design, London, 1976. Museum no. E.128-1978.

---

1980s

The increasing profile of women in the piece of work place required a new fashion aesthetic, and the decade witnessed the emergence of 'Power Dressing'. Wide, padded shoulders became fashionable and women's clothes were inspired by masculine fashion and tailoring traditions. The menstruum also saw the brandish of lavish evening clothing, as exemplified past the opulent dresses of Oscar de la Renta.

Oleg Cassini

Oleg Cassini (1913–2006) was a prominent American fashion designer who famously dressed Jackie Kennedy, during her years in the White House. Cassini also had a lucrative ready-to-wearable and licensing business organization with a wide range of branded accessories and cosmetics.

Way design, by Oleg Cassini, United States, 1988. Museum no. E.25-2000

Fashion design, by Oleg Cassini, United States, 1988. Museum no. East.24-2000

Pecker Gibb

Pecker Gibb (1943–88) was a manner designer whose creations defined the 1970s await. He opened his boutique Alice Paul in Kensington in 1967 and offset designed for the youth market, with clean lines that diameter the imprint of contemporary trends. In the 1970s, his style developed along eclectic and romantic lines inspired by the hippie scene and by medieval and pre-Raphaelite painting. His romantic aesthetic was less successful during the 1980s and he presented his last full drove in 1985.

The drawing below right shows a design for the popular star Lynsey de Paul, for her performance at the Royal Diversity Show, 1986. Information technology is executed in colour wash, blackness ink and felt tip pen. By this time, Gibb's business organization was declining and this blueprint may be ane of his terminal.

Fashion design, by Nib Gibb, London, 1986. Museum no. Due east.522-1993

Costume design, by Neb Gibb, London, 1986. Museum no. E.523-1993

Antoni & Alison

The London based fashion pattern duo, Antoni & Alison, are Antoni Burakowski and Alison Roberts. They met in 1982 when studying fashion at St Martin'southward college. They are known for their eclectic and playful designs, including ranges of slogan and vacuum packed T-shirts.

Antoni & Alison, fashion pattern, London, belatedly 1980s. Museum no. East.679.ii-1997

Antoni & Alison, way blueprint, London, late 1980s. Museum no. E.680.2-1997

Antoni & Alison, fashion design, London, tardily 1980s. Museum no. E.679.2-1997

Manolo Blahnik

Manolo Blahnik (b. 1942) is one of the most prominent and successful shoe designers of his age. His creations were famously immortalised in episodes of Sex and the City, and his name is at present synonymous with luxurious and exquisitely designed shoes. He was awarded an honorary title of Commander of the British Empire in the Queen's 2007 Birthday Honours List, for services to the British fashion industry.

These designs are for ladies shoes, for possible product by Zapata Shoes Ltd, London, 1980.

Manolo Blahnik (b.1942), pattern for a shoe, Britain, 1980. Museum no. E.1334-1979

Manolo Blahnik (b.1942), design for a shoe, Uk, 1980. Museum no. E.1331-1979

Manolo Blahnik (b.1942), design for a shoe, Britain, 1980. Museum no. E.1332-1979

collinstherip.blogspot.com

Source: http://www.vam.ac.uk/content/articles/f/fashion-drawing-in-the-20th-century/

Share this post