INTRODUCTION
CHAPTER 1VICTORIAN AND SECOND EMPIRE
This was a period in which the exuberance and emotional
excitement of Romanticism became codified, restricted, repressed,
and unnatural, and the mood and manner of sixteenth-century
mannerism made itself felt in the clothing, public architecture,
interiors, and furnishings that were the style of the Second Empire
in France and the early to mid-Victorian Period in England. It was
a period of excessive complexity and weight in decoration and
ornament and of somber color in all areas of clothing (except for
pale pastels in womens ball dresses). In general, life was tightly
structured and organize, clothing was layered and formal for the
example woman used cage crinoline, Amelia jenk bloomers, Gibson
blouse, pagoda sleeve, leg o mutton sleeve, bertha neckline, fichu,
bonnet, muffs, parasol, and marry widow hat. The silhouette is
fishtail and hourglass; for the man used top hat, bowler/derby hat,
waistcoat, frock coat, tail coat, tuxedo, monocle, deer stalker,
check field, peacoat, strawhat, black tie, bow tie, wing collar,
suspender.
CHAPTER 2LATER VICTORIAN:THE GILDED AGE
This was the period in which neomannerist tension, repression,
and bad taste reached a peak in furnishings and female fashion a
period in which expanding capitalism, industrialism, and
imperialism placed layered richness above artistry, beauty, and
simplicity. in truly was gilded age in which fortunes in Europe and
America were made overnight, and the wealthy heiresses of the new
world began that search in the old for titled husband with great
estates. It was an age in which the rules of upper-class living and
the caste levels in bourgeois society became tightly solidified and
codified. It was an age of expensive, artificial, upper-class
living in which taste was subordinated to a heavy and ostentatious
display of position and wealth. for women it was one of the most
unnatural and inhibited periods of fashion; for men it was one of
the most dull and codified moments in the history of dress.
CHAPTER 3LATE VICTORIAN AND EDWARDIAN:ART NOUVEAU
This was a period when the arts and clothing gradually began the
move into the modern technonogical age. Clothes which for over half
a century had been an anachronism in a world of trains, industrial
plants and streetcars at last began to loosen up and move beyond
the rigid prescriptions of the Victorial Age. This was also a
period when art nouveau designs swept away the eclectic excesses of
the past in a favor of abstract organic growth lines in interiors,
furniture, and artifacts and , to a lesser extent, in pattern
motifs for female growns. Thus with the death of Queen Victoria and
the accession of Edward VII, the last decade of elegance and
gentility began with a loosening of costume lines, a lightening of
colors, a breaking down of prescribed uniforms for function, and an
acceptance in society of many of the sporting and business clothes
that had been on the periphery of fashion for several decades.
CHAPTER 4WORLD WAR I AND THE TWENTIES:EARLY ART DECO
This was a period during which fashion, particulary for women,
moved sharply into the modern world. In 1911 the remainders of the
grand dame imagine still remained with many of the decorative
effects that had been in existence since the Victorian Age. By the
end of the 1920s Woman as an active, boyish, streamlined figure who
reflected the new age of speed, efficiency, and workship of the
machine. Because of the Great War the old, upper-class, slow-paced,
genteel way of life was replaced by a sleek, action-oriented,
superficial sophistication. The old culture which had been
interested in mood, impression, and a larger-than-life romantic
ideal disappeared in favor of a new culture in which smooth
efficiency, speed, and machine imagery were dominant- an age in
which the human figure was both freed from the strictures of the
past and subordinated to the textures and forms of the machine
age.
CHAPTER 5THE THIRTIES AND WORLD WAR II:LATE ART DECO
This was a period that continued the artistic ideals of art deco
with its popularization of the decorative effect based on the new
machine image. It was a period when some of the excesses of the
1920s were toned down by the Great Depression and when the new male
and female ideals in manners and clothing came from the stars of
the great silver screen the one escapist pleasure that depressed
America could still afford. The most memorable silhouettes for
women were the long, straight lines of the early 1930s, the slinky,
clinging, tubular evening creations of the mid 1930s, the boxy,
square, padded look of the late 1930s with the broad, snap-brimmed
hat. It was also a period of great repression and upheaval that
culminated in six terrible years of world war.
CHAPTER 61940:THE COLD WAR
This was a period of retrenchment and consolidation after the
war and in the face of the anexieties of an atomic age and a world
with a Cold War mentality. It was a period much like that following
World War I with its attempted return to normalcy. Clothing
continued in variations of machine imagery and mechanized
efficiency with a great stress on the use of plastic and synthetic.
There was still a great admiration for the simple, clean, geometric
lines that one found in industrialized technology and a great
preference for smooth, polished surface and hard, flat, or
light-reflective textures. It was the era of the man in the grey
flannel suit and the woman in the boxy suit jacket and skirt or the
black A-line or H-line cocktail dress accented with pearls.
CHAPTER 71950
The origins of 1950s fashion began with Christian Diors New
Look, in 1947. The New Look consisted of a below-mid-calf length,
full-skirt, pointed bust, small waist, and rounded shoulder line.
The look became popular post WWII. At first, the style was not well
received by Americans; however, that quickly changed as the trend
dominated fashion magazines. Other styles that became popular
during the post-war period were a tailored, feminine look with
gloves and pearls, tailored suits with fitted jackets with peplums,
with a pencil skirt. Day dresses had fitted bodices and full
skirts, with jewel or low-cut necklines or Peter Pan collars.
Shirt-dresses and halter-top sundresses were also popular. Skirts
were narrow or very full, held out with petticoats, while poodle
skirts were a brief fad. Gowns were often the same length as day
dresses with full, frothy skirts, and cocktail dresses were worn
for early-evening parties. Short shrugs and bolero jackets were
often made to match low-cut dresses.Other trends seen in the 1950s
are a result of the development of new synthetic and easy-care
fabrics. Some of these fabrics are drip-dry nylon, orlon, and
dacron, which could retain heat-set pleats after washing, acrylic,
polyester, triacetate, and spandex. These new fabrics worked well
with the increasingly popular ease of the suburban lifestyle.
Another lifestyle trend that emerged during the post-war era was
defining the teenage years as a true stage of development. As a
result of this new development, and for the first time in American
history, teenage and young adult fashions became a new marketing
niche.As society moved to the suburbs and adapted to a relaxed
lifestyle, fashion followed suit. During this decade, casual
sportswear was an increasingly large component of women's
wardrobes. Casual skirts were narrow or very full; pants became
very narrow, and were worn ankle-length. Pants cropped to mid-calf
called houseboy pants, while shorter pants, below the knee, were
called pedal pushers. Shorts were very short in the early '50s, and
mid-thigh length Bermuda shorts appeared around 1954 and remained
fashionable through the remainder of the decade. Loose printed or
knit tops were fashionable with pants or shorts. Also seen during
this decade was the swimsuit, which was one- or two-piece. Some
swimsuits had loose bottoms like shorts with short skirts.In the
1950s mens styles were based in conservatism. Most men wore suits
for work and the Ivy League style for a relaxed occasion. Suits
consisted of dark blue, dark brown, and charcoal; the ties were
also uniform and dark. The Ivy League style consisted of cardigan
sweaters, which was used for the letter sweater and cherished among
athletes. Pink also became a color seen on men, which was a result
of the 1950s casual menswear. Also popular are cowboy inspired
shirts, and hats became a trendy accoutrement.
CHAPTER 81960
The 1960s was a decade of sweeping change throughout the fashion
world generating ideas and images which still appear modern today.
Whereas fashion had previously been aimed at a wealthy, mature
elite, the tastes and preferences of young people now became
important. At the beginning of the decade, the market was dominated
by Parisian designers of expensive haute couture garments. Formal
suits for women underwent a structural change resulting in looser
lines and shorter skirts.The shape of clothes was soon transformed
by new ideas emerging from the London pop scene. In Britain,
musical taste and styles of dress were closely linked and it was
the mod look which first popularised the simple geometric shapes
typical of the 1960s. By the mid-sixties, the flared A-line was in
style for dresses, skirts and coats. Slim fitting, brightly
coloured garments were sold cheaply in boutiques all over 'Swinging
London' and had tremendous influence throughout Europe and the
US.
CHAPTER 91970
The early 1970s fashion scene was very similar to 1969, just a
bit more flamboyant. It wouldnt be hyperbole to say that a fashion
revolution occurred in the 1970s. Polyester was the material of
choice and bright colors were everywhere. Men and women alike were
wearing very tight fitting pants and platform shoes. By 1973, most
women were wearing high cut boots and low cut pants.Early 1970s
fashion was a fun era. It culminated some of the best elements of
the 60s and perfected and/or exaggerated them. Some of the best
clothing produced in the 1970s perfectly blended the mods with the
hippies.By the late 1970s the pant suit, leisure suit and track
suit was what the average person was sporting. Every woman had a
cowl neck sweater in her closet and every man had a few striped
v-neck velour shirts.
CHAPTER 101980
The1980s fashionhad heavy emphasis on expensive dressing and
fashion accessories.Apparelstend to be overly bright and vivid in
appearance. Women expressed an image of wealth and success through
shiny costume jewelry like large faux-goldearrings,
pearlnecklacesand clothing covered withsequinsand diamante.Punk
fashionbegan as a reaction against both thehippiemovement of the
past decades and thematerialistvalues of the current decade. Hair
in the 1980s was generally big,curly,bouffantand heavily
styled.This was in contrast to the long and straight style worn in
the 1970s. Television shows such asDynastyhelped popularize the
high volume bouffant and glamorous image associated with it.Women
from the 1980s wore a heavy and bright makeup. Everyday
fashionmakeupin the 80s comprised having light-colored lips, dark
and think eyelashes, pink and light blue blusher.
CHAPTER 111990
In the 1980s, fashion was influenced by the western economic
boom. Youth culture stopped hogging the scene as the teenage market
lost impetus. The dominant market was getting older and was also
financially secure. Demographics changed the face of society.
People were living longer and seemed to act younger at the same
time. Old industries died, while new technologies developed and
boomed.One of the strongest looks of the 1980s was power dressing.
After John Molloy wrote his book Women Dress For Success in 1975,
corporate America took it to heart and women began to abandon the
incomplete look of mismatched skirt, sweater or blouse for a full
jacketed sober suit. Soon the concept came to Britain and the rest
of Europe followed.
CHAPTER 122000
The2000s fashionare often described as being a "mash-up",where
trends saw the fusion of previous styles, global and ethnic
clothing, as well as the fashions of numerous music-based
subcultures, especiallyindie pop. Many in the industry have noted
the lack of divide between the 1990s and early 2000s due to the
continued popularity ofminimalist fashionamong young people of both
sexes.For the most part, the mid-late 2000s did not have one
particular style but recycledvintage clothingstyles from the 1940s,
1950s, 1960s and 1980s for the example is Boho-chic. Boho-chic is a
combination of nontraditional, eclectic styles influenced by
gypsies, hippies, and artistic clothing of the 1960s and 1970s. The
style is one of balance between messy and feminine, while
establishing a sense of uniqueness and individuality. The style
itself is versatile, as the trend ranges from artsy to
exquisite.
CHAPTER 1VICTORIAN AND SECOND EMPIRE
Top Hat is a tubular shaped of hat create with velvet
Similarities:
Both top hat looks same tubular and high. The color still used
Black color
Diferencies:
On the modern picture top hat used for style but for the old
picture top hat more useable. On the modern picture top hat not to
high as top hat in old picture. Usually top hat used with suit but
in modern picture it can be combine with knitwear In modern picture
top hat made not from velvet anymore but can be made by another
fabric like silk.
CHAPTER 2LATER VICTORIAN:THE GILDED AGE
Straw hat a short crown hat with a regular brim. Made of woven
grass. Worn for summer.
Similarities:
Both used as head accessories
Diferencies:
On the modern picture straw hat used for style but for the old
picture it more useable. On the modern picture used by woman but on
the old picture used by man. Usually straw hat worn for summer but
in the modern picture straw hat can used anytime.
CHAPTER 3LATE VICTORIAN AND EDWARDIAN:ART NOUVEAU
Dresscoat/tailcoatis a double/ single breasted coat with shorter
part as the front and longger at the back.
Similarities:
Both used by man Both silhouette is the same shorter part as the
front and longfer at the back Both is double breasted coat
Diferencies:
On the modern picture the coat more fitted to the body combining
with the tight shirt and pants but on the old picture the coat is
more loose to the body.
CHAPTER 4WORLD WAR I AND THE TWENTIES:EARLY ART DECO
Houndstooth patternis a duotone textile pattern characterized by
brokenchecksor abstract four-pointed shapes, often in black and
white, although other colours are used.
Similarities:
Both using black and white color
Diferencies:
On the modern picture that pattern apply to the knit fabric but
on the old picture usualy using the woven fabric.
CHAPTER 5THE THIRTIES AND WORLD WAR II:LATE ART DECO
Fedora HatThe hat is typically creased lengthwise down
thecrownand pinched in the front on both sides.
Similarities:
Both using dark color Both is the same silhouette
Diferencies:
On the modern picture that didt used ribbon, but an the old
picture used it. On the modern picture that hat used not only
useable as hat and cover head from weather but more used as a style
but in the old era this is more useable.
CHAPTER 61940:THE COLD WAR
epaulettea type of ornamental shoulder piece/ decoration use to
fasten insignia/ emblem
Similarities:
Both attach on the shoulder Both is ornamental shoulder
Diferencies:
On the modern picture that epaulette used by woman but in the
old picture that usualy used by man . On the modern picture that
used for the accessories but in the old picture used to fasten
insignia/ emblem On the modern picture that not part of the clothes
but in the old picture is part of the clothes.
CHAPTER 71950
Duck Arsea hair cut that was popular in 1950s its also called
the ducks tail, the ducktail or simply D-A.
Similarities:
Both is a hair style looks biger in the front of head and
sometimes cover the forehead.
Diferencies:
On the modern picture that hair cut is more flowy than the old
picture is more stiff. The modern picture didnt used sideburn than
the old picture.
CHAPTER 81960
Psychedelic Patternmeans mind manifest, is an art movement of
the late 60s having the vivid colours and complex patterns
popularly associated with the visual effects of psychedelic
states
Similarities:
Both is a having vivid colours and complex patterns
Diferencies:
On the modern picture that pattern combining with the more than
one pattern and put in together as a clothes in the old picture is
only one pattern with blend color.
CHAPTER 91970
Dreadlockare matted coils of hair. Most dreadlocks are usually
intentionally formed. Dreadlocks are associated most closely with
theRastafari movement.
Similarities:
Both are matted coils of hair
Diferencies:
On the modern picture that hair used by woman but in the old
picture is used by man On the modern picture hair is dye by
colourfull color but in the old picture is used by natural color of
the hair.
CHAPTER 101980
Flattop Hairis a type ofcrew cutwhere the hair on the top of the
head.
Similarities:
Both is used by man
Diferencies:
On the modern picture that hair used by white man but in the old
picture that hair used by black man.
CHAPTER 111990
Eclecticderiving ideas, style, or taste from a broad and diverse
range of sources.
Similarities:
Both is used by man
Diferencies:
On the modern picture the silhouette is more fitted than the old
picture.
CHAPTER 122000
Heringbone Patternis an arrangement of rectangles used for floor
tilings and road pavement, so named for a fancied resemblance to
the skeleton of a fish such as aherring.
Similarities:
Both is still used herring pattern Both can used by man and
woman Both usualy used for suit
Diferencies:
On the modern picture the pattern is a little bit diferent than
the old picture.