Retro May

Tylor Swift Street Style

2015-07-29T17:08:00.001+03:00

Hi Dolls :)

Has anyone realized how Taylor swift changed her style in this one year.

She became much fashionable glam woman compare to her past years.

She became glamorous woman and she mixes retro patterns and styles in her outfits .

She usually prefers to wear high waist-ed shorts and skirts . Compare to retro styling she usually chooses 70's , 60's style patterns.

Taylor Swift found herself in Retro Glam .

As the years goes by she made radical decisions and choose a style to prevent her self.

She cut her hair also . And as we can see she seems happy about that .

Another styling tip that I 've realized from Taylor Swift. She often wears red lipstick as well.

Long Sleeved Shirt Collar Dress with pearls reminds as simplicity of begining of 60's

Her Shoes are definitely looks vintage (but it's reproduction)

Her Hand bag seems like 60's hand bags .

From Left To Right:

What's in My Bag

2015-07-24T14:25:00.000+03:00

Hi Dolls :)

Today I ' m going to share with you my bag. I just came from work and all of my daily routine stuffs are inside of this bag. I picked up my camera and started to take pictures for you.

I 've always been organized person. To do that i bought pouches . I used to be unorganized person after i discovered pouch bags i ' ve became one of organized freaks .

You're going to see what i'm talking about.

1. Louis Vuitton Monogram Canvas Noe Bag

This bag is from Lv . I've got it recently . And it's multi-functional . it's a big bag and it has zipper pockets inside of it.

2. Forever New Make-up Bag

I used to have a LV make-up pounch but i bored of it . I just recently buy this makeup bag from Australian brand "ForeverNew" it reminds me retro spring/summer times back in 50's :)

3. Girly Bag

This is my as i call it "my girly bag" It has lots of stuffs in which indicates self-hygiene product. There are products like hand-sanitizers , moisturizers , tampons , genital hygiene stuffs.

4. My LV Wallet

This wallet is my everything . It keeps my money , my credit cards , business cards being organized. It has a pocket for changes.

5.Tomford Sunglasses

This sun glass is my everything. It is my holly-grail . I never stopped using it . I have other glasses too but this one is special to me . It is really expensive sunglasses but definitely it deserves .

6.My Swissco

This brush is same as Tangle -Teezer and also it is really cheap . It is so handy .

7.My Pill Box

I do carry my medicines with me because you dont know what's gonna happen to your body . I just carry it with me just for emergency.

8. My Headphone + Headphone Case

This is just a regular headphones. These are from a German brand called "schineder".

And the case is from a local market . Fabric is plastic . I always carry my headphones with a case it protects headphones and also your headphones won't be detangled.

10.My Agenda

As I told you before I 'm organized person . So I like to plan thing in an agenda .

11. My Key

This key is a cheap plastic key. The reason i love this thing it tells me :)

I hope you liked it :)

Thank you all for your support:)

Top 8 Summer Dresses for Every Occasion

2015-07-01T11:06:00.002+03:00

Hi Dolls ,

As you know summer is finally here . We can wear our cute dresses , skirts , and nice tshirts and shirts finally . Today I'm going to show you some dresses for every occasion.

You may reach and buy that clothes from the sites that i'll link downblow .

And the good thing is they are all in sale:)

Floral Swing Dress

http://www.modcloth.com/shop/dresses/elegance-abounds-dress

2. French Style Polkadot Dress

http://www.modcloth.com/shop/dresses/georgia-gallivanting-dress-in-navy-dots

3.Pretty Picnic Dress

http://www.modcloth.com/shop/dresses/pretty-pretty-picnic-dress

4. Wind Of the Watercolor Dress

http://www.modcloth.com/shop/dresses/wind-on-the-watercolor-dress

5.Apulse Of Attraction Dress

http://www.modcloth.com/shop/dresses/applause-of-attraction-dress

6.Mainstay By My side Dress

http://www.modcloth.com/shop/dresses/mainstay-by-my-side-dress

7.Directors Cut Date Dress

http://www.modcloth.com/shop/dresses/directors-cut-date-dress

Flore Once In My Life Dress

http://www.modcloth.com/shop/dresses/flora-once-in-my-life-dress

My Favorite Face Powders

2015-07-01T09:38:00.001+03:00

Hi Gals :)

Today I have a nice review for u . And it is powder. I was searhing all my life for the best powder on the earth. In this moment i finally found them . But the search is not over ofcourse :)

I used to have lots of powder for every occasion but right now i just have 3 powders because i literally don't need lots of powders . Thats why i am trying to find the best powder on the earth :)

1. Chanel Poudre Universelle Compacte - 30 Natural

This one is translucent powder. It is a great oppsion for setting your fondation and make up or concealer. It has slight covarege and also it's good for oily skin cause it has talk in . But if you are looking for covarege this powder is not what you are looking for. It has three shades in stores i just got the medium shade.

2. MAC Studio Fix + Foundation

This powder is my holly grail at the moment . It has really nice and thick coverage . It has so many shades and swatches . The best thing about this product is if you'd like to use it as a fondation you just need to take your sponge and use it with water .

3. Dior Skin Nude Shimmer

If you want to look sexy and healty and also bronze this is your product. It gives slightly bronze effect and also shimmer. It's little bit pricey but it worths it.It is highly pigmented.

Fashion in 1963-64-65

2014-12-28T18:08:00.003+02:00

Fashion in 1963

In 1963, the young look swept through the fashion world like a great tsunami. This look included knee-high skirts, sleeveless dresses, lower heels and close-cropped, natural hair.

Although first shown in 1962, Saint Laurent’s fisherman’s shirt jacket was most popular in 1963.

Any type of artificial look was abandoned quickly. Large amounts of makeup and high heels were too contrived for the fashionable woman of 1963.

Tweeds, mohair, leather and furs were the rage. Boots ranged from ankle to thigh-high.

Vests, kerchiefs, textured cotton stockings, turtlenecks and paisley ascot scarves all came together to create a “sportive look.” The phrase became the motto of 1963 fashion.

Fur-trimmed suits and coats were the most prevalent items in fall fashions. Two preferred furs were lynx and kit fox — long haired furs were back in style. Leopard, however, was the leading fur of all of them.

The most drastic change in men’s fashion in 1963 was the widespread acceptance of pleatless pants. Stripes were seen on sports jackets, sweaters, shirts and ties. The three-button suit was the most popular, but the two-button suit was gaining fast. Men of means liked a soft Italian-style shoe.

Norman Norell and Cristobal Balenciaga were responsible for the reappearance of capes, while Yves Saint Laurent’s fisherman shirtjackets became world-wide fashion. In 1963, we get to see the first Geoffrey Beene collection.

Fashion in 1964

Fashion in 1964 was hit by a shock wave of nudity that extended around the globe and caused world-wide controversy. First came the deeply plunging necklines introduced in Paris spring collections. Then came the American versions, attributed to the movie, Tom Jones. The wave reached its crest with the creation of a topless bathing suit by designer Rudi Gernreich.

Dress manufacturers quickly jumped on the bandwagon, creating sheer-topped evening dresses with only the flimsiest layer of flesh-colored net used for a bodice.

Coco Chanel wearing a hair bow

The topless bathing suit created all kinds of problems. A woman in Chicago was arrested for wearing it in public. Throughout the summer, comments concerning the controversial design were published around the globe.

“Feminine” was perhaps the most overworked word in 1964′s fashion vernacular. It referred to swinging, knee-high skirts, fitted bodices, ruffles, pleats, a lace revival and the return of the hair bow as the coiffure accessory for women of all ages. “Coco” Chanel was responsible for the hair bow revival.

The cosmetics industry reflected the fragile, feminine look that had come into fashion. Pale lipsticks and nail polish replaced the vivid shades for the sought after natural look. Hair was no longer curly, but merely waved to follow the contour of the head. Eyebrow brushing bangs became the trademark of the young, along with hair bows work front, rear and off-center. Girls with hair too curly besieged hairdressers known for the straightening techniques — a chemical session that cost somewhere in the neighborhood of $40.

Textured stockings were very popular in 1964. Winter also saw the revival of fuller skirts, smaller coiffed heads under close-fitting hats and the return of the ball gown.

For men, the accent was on youthful appearance. Suit colors were lighter and brighter. Suit coats and sport jackets were shorter, with wider lapels. Trousers were often uncuffed. A wider stripe appeared on shirts and striped were popular in sweaters.

Fashion in 1965

The mood of fashion was young in 1965. Andre Courreges, the young French designer of the bar knee, the square cut white dress and flat white boots, offered the freshest and boldest look. He borrowed the cowboy hat — chin strap and all — to top the geometric looks of his clothes. White textured stockings epitomized the trend. His ideas influenced nearly every facet of fashion.

A fashion revolution broke out in London, and for the the first time a British fashion invasion stormed NYC.

Vintage Poor Boy Sweater Ad

In the US, Pop Art popped into style. Then along came Op Art, which opened up a whole new world. Women dressed to match Op Art paintings, with their stripes, checks and wavy line prints. Dressed were divided geometrically by intersecting bands and brightened by contrasting blocks of color.

The Mondrian style was a hit.

Rounded toed shoes became more prominent. Straps were evident, heels were open, sides were pared down to add to the look of leggy young elegance. Heels continued in the low to medium height range.

We cant forget about the “Poor Boy Look.” Women continued to wear low hipster pants in combination with the “poor boy” sweater (see picture).

Another fad caught on in the dressing gown space. Cristobal Balenciaga designed a gown with one bare shoulder and it caught on like crazy. Even Jackie O got into the mix.

The Saint Laurent Mondrian dress was a huge hit in 1965.

(1961 (1962) fashion

2014-12-28T17:57:00.000+02:00

In 1961, fashion was all about the costume look. The fashionable woman liked to go out in the evening dresses in an expensive but simply cut dress known affectionately as “little nothing.” She never left home without an elegantly styled bouffant hairdo.

Jackie Kennedy

Oval shaped shoulders and tapered hemlines were being replaced by straighter, wider shoulders, accompanied by a gentle inward curve at the midriff and a flare at the hem.

Many designers created “the look” by designing not just the dresses, but also the hats, shoes and even makeup of their mannequins.

Skirts had risen to the middle of the kneecaps, but by the end of 1961 only the very young continued to wear them short.

The hairdresser was of extreme importance in 1961. Beehive coiffures adorned by the likes of Princess Margaret, Jacqueline Kennedy and Brigette Bardot were imitated by women of all ages.

The bias cut gave a new fit to clothing, while keeping the comfortable softness women had to come to love. The bias skirt added grace and flare, while bias bodices molded the torso without feeling too tight.

The “little nothing” dress was called so for its simplicity. It was almost always sleeveless and slim, with low blousing or in a loose chemise shape recalling the flapper dresses of the 1920s.

The high rounded hat and the low, square-toed shoe were the accessories of choice. The simple pump of calf, alligator, crepe or satin was worn morning and night, and the women of high fashion wore heels of medium height, even with ball gowns.

Fashion in 1930s

2014-12-28T17:40:00.004+02:00

With the Clara Bow flapper look becoming passe, the new rage is the sophisticated Garbo look. The silhouette is tall and slender, emphasizing broad shoulders, a small bosom, streamlined hips and a standard waistline. Both hair and hems are longer in 1930. The more narrow skirts widen softly below the hip and then stop at mid-calf.

Fashion in 1930 was highly influenced by stars of the silver screen. Greta Garbo popularized the windblown look, with her side-parted hair, while Joan Crawford embraced the puffed sleeves, which emphasized her slim waist. Jean Harlow strutted her stuff in slinky halter tops and evening gowns.

Thick, clinging fabrics are enormously popular. The gradual broadening of the shoulders lead to three-inch shoulder pads; found even in night gowns.

Makeup emphasizes angularity. In 1930, most every woman owns a close-up mirror to pencil in well-plucked eyebrows and to apply black mascara and eye shadow. The curling iron was another fashion necessity.

In 1931, new fashion accessories include suede gloves with matching bag and shoes, a red or gray fox fur (flung over one shoulder), batik scarves, large rings and watches set with gems.

Women love their hats. In 1931, they are deep and close-fitting with both large and small brims, and women liked them to cover one eye. Women wear their hair a little longer and loosely waved with a side part. Fashionable shoes include the black silk style with ankle strap and the white suede style with a T-strap.

For men, hair was worn short and natural, parted on the side. Men left their pomade in the cabinet, going for the natural look a la Charles Farrell or Buddy Rogers. The older gentlemen still sported a mustache while carrying his cigarette case, wallet, signet ring, cuff links and two handkerchiefs; one in the pocket and one, for actual use, in the coat sleeve. The hearty man appears with a double-breasted, dark-colored suit and the hat brought down over the top of his face.

With the growing vogue in slinky silks popularized via Hollywood, undergarments change dramatically in 1932. Though still embroidered and generally in one piece, there is a notable absence of seams, since they show through tight fitting clothing.

Women turn to corsets in stunning fashion and a new interest emerges in the “uplift,” provided by darts and hidden circular stitching. Artificial silks and zippers make clothing less expensive, which is very important in an American society that had a 24% unemployment rate.

A blue and white plaid rayon dress with sashed belt and bow collar, with flowers, ribbons and quills in the hair is the style of the summer. Fashionable hats range from the pillbox, toque, trimmed turban and Basque beret (worn on the side like Marlene Dietrich). Chanel’s cotton evening dress was a big hit in 1932.

For the first time, ties made of wool, not silk, are the fab choice for the stylish businessman

In 1933, the V-shape (wide shoulders to slim waist with flared skirt) placed an even stronger emphasis on the corset. There was a two-way stretch and the new, all-in-one, full-length corset with Lastex bra and six suspenders to hold up stockings.

Bolero jackets and puff sleeves are in style, as are short, fitted sweaters. In the evening, necklines are high in the front, and very low in the back. Large brimmed hats reinforce the long silhouette.

Once again, women follow Greta Garbo in the new “man’s” evening suit, while mimicking Joan Crawford’s makeup: bright lips, eye shadow and artificial eyelashes — which take a salon two hours to apply.

Chanel’s satin suit and Shiaparelli’s exotic buttons made fashion news. Some fashionable women even dusted their hair with bright phosphorescent powders.

In 1934, hair is pushed back across the head at a sharp angle and hats, worn on one side of the head, look almost like vinyl records. Many women curl their hair like Jean Harlow, wear red lipstick, rouge and nail polish. Most women also penciled in the eyebrows. A new passion for sports ushered in a new era of smaller, tighter sportswear.

On the beach, shapely women wore what was called “corset bathing suits” that were slashed and backless and molded very closely to the woman’s body.

Finally, high-fashion designs were making their way to the average woman in the form of ready-to-wear clothes. The style that was seen in the magazines was being seen in middle class neighborhoods. The tailored look, Chanel’s collection and the new surrealism design all experienced great success.

Chanel embraced “understated elegance” by keeping the easy skirt and pairing it with a jersey jacket. Schiaparelli pursued “hard edge chic” and fantasy, with prints designed by Dali and Cocteau, accompanied by wild button shaped like fish, horses or stars.

Padded shoulders were even more pronounced in 1934. The “little black dress” is the new evening style, but some women loved to express themselves in loud-colored long dinner suits.

Hot colors combos in 1943 are brown & pink, and prune & turquoise. Women still loved gloves and silver fox broadtail.

Fashion in 1935

Marsha Hunt in Mainbacher

A not-so-subtle military look pervades women’s fashion in 1935. This look is accomplished with square shoulders, low heels, plumed hats and gauntlet gloves. Even Shiaparelli designed suits with a tidy look in his drummer-boy jackets.

Evening wear was much different. Women enjoyed an international flair, with Greek and Indian-inspired dresses with heavy jewelry and breathtaking prints.

Hair was brushed to the top of the head in a mass of curls and makeup emphasized bone structure in a bold way. Bra cup sizes (A-D) were introduced in 1935.

Mainbocher’s two-piece navy wool dress with lace cuffs and collar was a particularly awesome outfit from 1935.

Fashion in 1936

Schiaparelli-penned article

In 1936, women loved wearing a plum or dark green wool tailored dress with long, tight sleeves and slightly bloused bodice. The dress gently flared at mid-calf, has side pleats and is worn with a wide leather belt.

For the evening, the black silk crepe with white silk over-jacket was a fashionable choice. Another slick outfit was the shiny, brown satin and matching jacket and feather-trimmed sleeves. Formal wear ranged from short dresses in bright colors to gold frocks with pressed pleats and short jackets.

Ferragamo designed the first evening wedge shoe in gold kid and red satin, but ankle boots of embroidered velvet are also worn. The bra is “enhanced” with the high and pointed look.

Shiaparelli’s square bag and collarless coat was at the top of the couture world along with Molyneaux’s crescent brown calf pouch bag.

Fashion in 1937

1937 Cartier advertisement

In 1937, the hourglass silhouette, with padded shoulders and small waist gave way to a more tubular, natural shape. Evening lengths remained long and in wool, jewels remained bulky and immense. Cartier clips of blackamoors’ heads are copied everywhere.

New fashion items include bulky blue fox and silk jersey. Veils on hats make a return. In makeup, Christian Berard introduces cyclamen rouge and deep blue lashes for blondes; and brown suntan rouge and pomegranate lips for brunettes.

Strassner’s white pullover with white wool slacks were a popular item in high fashion.

For men, there were a few developments. In the spring and summer, men wore a single-breasted suit with patch pockets and panama hat. In the fall, he wore a double-breasted dark blue suit with wide-cuffed, double-pleated, high-waisted trousers.

He also might have worn a vertical stripe suit, in tow tones with windowpane checks in cotton, wool, nylon and silk.

Fashion in 1938

Fashionable woman in 1938

A special elegance marked fashion in 1938. The popular look was the pencil-thin silhouette with black outfit, skunk jacket, hair piled on top of the head, extravagant hat and enormous artificial jewelry.

At night, the fashion conscious woman wore skin-tight molded dresses and short tailored jackets with embroidery.

Spring 1938 saw romantic styles such as full skirts in delightful patterns, tiny sailor hats trimmed with feathers and flowers, and clogs. Also new are the more formal strapless evening gowns.

Hair is worn in a pageboy with side combs and bobby pins, it is pushed off the ears or it is tied back in George Washington bows. Styles of the 1890s and 1900s are revived for day and evening.

Cyclamen is a popular color in 1938, but lipsticks and rouge

For women, suits became more feminine in 1939. Whether they were pleated, straight or flared, they came with tightly fitted jackets and blouses. British Prime Minister Chamberlain’s famous umbrella and hat became a motif in accessories and prints.

Snoods were quite popular in 1939. Hair styles in general were more Edwardian (worn up front) with the back hanging in curls. The first permanent waves appear in 1939.

In the summer, bare midriffs, flat sports sandals, Indian moccasins and Carmen Miranda turbans are seen everywhere.

Some winter dresses dresses have fitted bodices for Mainbocher’s new corset, which, laced up the back, creates waves across the fashion industry.

From Europe, come “black out” fashions which include tailored suits, white hats, flashlights and boxes for gas masks. Pinguet re-inspires the square shoulder, which stayed in some level of popularity for almost another decade.

retrowaste.com

1948

2014-12-28T17:27:00.000+02:00

the new look, which had blossomed, billowed and exploded the point of near absurdity, finally collapsed. Clothes were pared down to create a tight fitting, spare look. It was the total opposite of what had been worn for the last three years.

Jackets were short and rib-tight. Skirts were straight in the front and sides, with all fullness drawn to the back. The tent coat disappeared, replaced by the belted greatcoat or the fitted coat with small shoulder capes.

Women who couldn’t afford to buy an entirely new wardrobe would pull their loose fitting clothing tighter or just cut them smaller.

The Belt of the Year in 1948 was the dog leash, a thin, rounded and made in a variety of colors and materials. Handbags shrank in size and the extravagant jewelry that had been so popular over the past few years was toned down to smaller pieces.

Gloves were wrist length, scarves were short and even the hats were small.

Oliver Twist waistcoats suddenly appeared in every material and color imaginable, but especially of suede and velvet. Stoles became popular again, made of tweed, wool, jersey, and fur.

A renewed focus on the “going away look” placed more importance on the back. As such, 1948 fashions are markedly more embellished in the back than 1947 designs.

The lampshade dress was perfected in 1948. The lampshade dress fit very tightly from shoulder to mid-thigh, where it flared out intensely. It was intended for late afternoon and evening wear.

Patent leather made a comeback in 1948 as well, especially in bags and belts.

1946/1947

2014-12-28T17:24:00.001+02:00

Femininity was in full swing in 1946, After long, wartorn years of wearing suits, women turned to dresses again.

The curves that were so popular in 1945 were replaced by a more natural look. The shoulders and bosom were much more exposed this year, but never in a flamboyant way.

Even though Paris was short on just about everything but talent, designers did their best to keep their position as the fashion capital of the world.

An asymmetrical look was important in 1946. Long evening skirts swayed to one side. Dinner dresses appeared with just one shoulder strap. It was a very flattering look to the female figure.

Two popular suits, the cutaway suit and the bellhop suit, were very successful for designers. While not overly feminine, they still had a distinct look from man-tailored suits, and were exactly what women were looking for.

The Kiltie, a short pleated skirt which came in varied lengths, was a vital part of the playtime wardrobe.

With the end of the war, designers were finally able to dip into their array of beautiful fabrics again. Fine Irish linens returned and were used for simple things like day dresses, or for extravagant lace.

Embroidery was seen in almost every form: passementerie, jet beading, silk tassels, ball-fringe and more. Colors were delicate, pale blues and pinks, pale yellows and violet, were common color combinations.

Hats were trimmed with fantastic feathers. The tricorne, bicorne and tiny pillbox were popular hat shapes.

The ankle-length evening dress eclipsed the picture-skirted ball gowns in importance. Shoulders were covered by tiny boleros. Flowing capes draped over day dresses and evening gowns alike. One extravagant wrap was a greatcoat cut like a cape, lined with seal.

The feminine look was certainly aided by the fact that women could buy nylon stockings again. Also, with the rising of the hemline came a new focus on shoes.

Shoes were designed with grace. Gentle arches, high heels and ankle straps all gave the foot a renewed appeal.

Fashion in 1945

2014-12-28T17:14:00.000+02:00

U.S. fashion designers displayed remarkable creativity when using the limited amount of textiles allotted to them by the government. The rounded line replaced angles, which was the primary means of avoiding boring designs.

The Canadienne

At the beginning of 1945, the roundness was first achieved by pulling the waist tight, emphasizing fullness above and below the waistline. Eventually the round look took every costume. Often the only tight parts of an outfits were at the neck, waist and wrists.

Suit jackets had round collars and round-cut hemlines, while suit skirts belled out in front. The Canadienne, a French twist on the coat of a Canadian soldier, was one of the year’s biggest fashion hits.

Evening dresses often came with farthingales to make hips seem larger and the waist thinner.

The cholo was hugely popular on beaches in 1945. It was worn over top of the swimsuit.

The trend of wearing “separates” continued to grow. Shirts were ready to wear, came in a wide variety of styles and mixed well with skirts.

A few horseblanket skirts appeared among the younger crowd. These unique skirts were made of plaid wool horseblankets, bound with black braid and fastened with horseblanket buckles.

Gold neckbands, African-inspired metal rings and gold chains were wrapped around the neck and wrists.Buttons were brassy and belt buckles shined like a cowboy’s saddle.

Due to the absolute necessity of belts in the wardrobe, manufactures began producing more inventive belt styles than had even been seen before. Some were wide burnished bands of leather and others were cut to fit the waistline.

Women were particularly fond of ballet slippers in 1945. They came in all colors: plaid, black, pink — you name it — and were worn with everything from skirts to dresses to dancing tights.

It’s hard to deny that as 1945 progressed, the fashion world took on a much more relaxed and peaceful tone. Like a huge sigh of relief. Colors lightened and fancy fabrics slowly came back. European designers didn’t have the worry of a war in their backyard and, with the end of World War II, people felt like it was OK to care about something as trivial as fashion again. It certainly had been a while.

1942-43-44

2014-12-28T17:09:00.001+02:00

Fashion in 1943 began to show momentum of its own, an honest freedom from the great tradition of Paris on which it had leaned so heavily, for so long. Clothes were at once less cautious and less tricky. Still marked by the simplicity that wartime fabric shortages and the wartime work and psychology of women demanded, the simplicity was tempered by inventiveness of cut, a genuine suppleness of line.

Two very distinct silhouettes emerged over the year. One was tubular, slim, reedy, exemplified in straight chemise dresses cinched in at the waist by belt, not fit; in knitted dresses that pulled on over the figure like knee-length sweaters.

The other silhouette was chunky, bulky, giving the effect of fullness without gathers robust boxcoats in wool or fur, or wool lined in fur; wool dresses cut with the generosity of officers’ greatcoats, then decisively belted in.

With either silhouette, the look of the head was decidedly neat and small, the hair folded up off the ears and moored on top of the head, netted neatly at the back of the neck, or twisted in tight neat braids.

Hats fitted close to the skull were hot. Little felt caps, coifs bound tight around the hairline, wide bands of material (called “curvettes”) worn over the top of the head and tied under the hair in back with strings of felt or velvet ribbon. This curvette was the most popular headpiece (it could scarcely be called a hat) of the young. It was seen in every material: felt, fur, crocheted wool flecked with colored sequins for the evening. Many secured their hair in simple snoods of veiling anchored on the head by a band of ribbon.

Suits were still the most popular single fashion.

The straight, spare skirt was broken across the front by soft trouser pleats, and a new hike-back skirt appeared still straight in front, but hiked up slightly in back to make it swing out gracefully behind. The suit jacket grew shorter and niftier.

Three jackets in particular marked a development:

1.) the short, fitted jacket, nipped in snugly at the waist, slightly flared out over the hipbones;
2.) the bolero, fitted close to the lines of the figure after the authentic Spanish fashion;
3.) the box jacket, extremely young and casual, its squared-off lines accentuating the slimness of the skirt.

Long coats adapted from officers’ greatcoats, and short coats adapted from seamen’s jackets, were seen everywhere practical, dashing, adaptable; but it was the fur-lined coat, launched in the autumn, that became the big news of winter. Simple tweed reefers, loose box coats, slim mid-length tuxedo coats all wore fur linings.

Even the raincoat made a welcome fur-lined appearance, giving women an opportunity to be warm in any weather.

The younger generation made almost a uniform of the pinafore or jumper dress, perfect in cottons for summer; and in gray flannel, checked tweed, or bright wool jersey a wonderful campus costume worn with any of many shirts and blouses.

A few of the more daring began to couple the pinafore with an adaptation of the ballet dancer’s leotard: waist-length tights and a separate crew-neck shirt of striped or figured wool jersey. This basic outfit dispensed with stockings and most underclothing, and over it a pinafore or simple wrap-on skirt completed a whole costume.

After several years of covered-up necklines for both day and evening, decolletage came back in fashion. It was first seen during the summer in gingham beach dresses with shoulder-strap tops, and in printed silk town dresses with matching jackets to cover their backless, sleeveless nakedness on the street.

By winter, 1943, the covered-up, short-skirted dinner dress of 1942 had become a full-fledged, decollete evening dress: short black slipper satin dresses with ribbons of satin over bare shoulders; halter tops of white satin and sequins barbarically strapping naked backs above simple short black crepe skirts; short black crepe dresses with deep oval decolletage and tiny cap sleeves dangerously edged in black lace.

The deep oval decolletage with its little cap sleeves proved so becoming to so many women, and such a relief from high-neck, long-sleeve fashions that it spread to clothes of every description.

Both the oval and the halter neckline were uppermost also in a new genre of play dress for the south. A casual, feminine type of dress, made in coarse colorful cottons from Mexico and Guatemala, that threatened to supplant the shirtwaist dress, to banish the ubiquitous slacks from the beach forever.

1941.

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For her easy hours she wanted a really beautiful gown — one that made her feel like Lynn Fontanne. A gown in star sapphire blue, purple or black, with swirls of gilt and coral at the deep slashed throat is a perfect example of something a woman would relax in in 1941.

If she breakfasted in bed, she wanted a bed-jacket to match her gown. Or she would wear a cozy quilted robe with a matching gown. Nosegay print in rayon crepe; white or blue with red ric-rac, maize with green — or pink with blue.

Women’s Outfit in 194 (Harper’s Bazaar)

When she plays cards in the evening she wears a pure cashmere cardigan in maize, gray, blue, natural or purple.

If she likes jewelry she might wear a pin with an exquisite basketweave bowknot in glod plate with rhinestones. She would like earrings with golden swirls with ruby and rhinestone bands. He favorite bracelet is a rhinestone bracelet in a sunburst-and-knot design.

She will also need some Edelweiss doe-skin gloves, a smart umbrella and a handbag — soft one. One that is black suede or claf, gathered on a frame and for extra dash — she’ll want her name in golden script. And for her tweeds, nothing could be better than crocodile skins from the Argentine.

At ease, at home, the man relaxes with his pipe and the paper in a chevron-weave smoking jacket. It’s made of spun rayon and wool in darker, more subdued colors. At his feet his wore “Freelancers” — bootmaker finish moccasins.

In 1941 they called scarfs “mufflers” and everyone wore one. They were usually in soft Scotch cashmere with a plaid pattern. Garters were a hot items as well — keeping those wide-ribbed brushed wool socks up.

And speaking of keeping things up, he needed black trimmed rayon moire suspenders complete with monogram.

When he’s out he wears a capeskin jacket, or a pure cashmere pullover with crew or V-neck. Over the sweater he wore a “Huntsman” jacket with Indian Tan soft suede leather and a comfortable bi-swing back.

Back to the lady. When she goes out she wants to wear a honey-smooth dinner jacket, with it lapels and cuffs encrusted with glittering “jewels.”

But what did she smell like? She had all kinds of perfumes to choose from: Charbert’s Amber, Houbigant’s Chantilly, D-Orsay’s Le Dandy, Corday’s Jet, Bourjois’ Mais Oui, Suzanne’s Tout de Suite and Arden’s Blue Grass were just some of the popular perfumes at the time.

But if he’s in the mood to get really fancy, he would wear an opera hat, white chamois gloves, silk scarf (white and black with black fringe or all-white) that’s, of course, monogrammed.

How about a trip to the big game? It’s gonna be cold! He needs a waterproofed cotton gabardine coat, lined and collared in lamb. Waterproofed boots with a lining of warm electrified sheepskin.

For all-weather clothes, he wants a lightweight raincoat in high-count cotton broadcloth, treated with DuPont water repellent Zelan process.

For black tie nights, he wore a shirt with attached collar and French cuffs, with gold plated cufflinks, matched to its pique pleated bosom.

An eighteen year-old guy thinks his poplin jacket is pretty special. The pure wool alpaca lining zips out and makes a separate sleeveless vest. He also loved his ulster, complete with wombat fur lined collar and the sleeves are leather lined.

An eighteen year-old girl loved her figure cutting outfit with its bright red and green plaid skirt and matching stocking cap. And for her trim little sweater in jacquard knit, all pure wool.

The college girl wore a stocking cap made of hand-knit virgin wool with a roll-neck jerkin. She loved those goofy elbow mittens, to echo her knee-high hand-loomed socks. All cable-stitched in fireman red or white.

She wore those frisky boots called “Mounties” for her rustic roadwork and general campus traffic. Complete with a knapsack muff in safari or beaver brown mouton lamb. With purse space inside, the muff is a perfect spice for her off-campus visit.

Practically required equipment for the gal on the move was an imported Shetland wool sweater in pink, blue, yellow or white. And she has a HUGE collection of Argyle socks.

Fashion in 1940

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Fashion in the 1940s was a good mix of comfort and glamour. There were specific outfits that were meant for specific times of the day. Some of their designs look downright modern even by today’s standards.

Men were still pretty dressed up. Suits, ties and hats were commonplace in public. Women wore dresses and skirts — they still didn’t wear slacks yet.

Another thing women ALWAYS wore: gloves. Preferably a pair that matches your outfit. Fur was very popular, as were animal skins. Crocodile purses, wombat collars, lambskin lining, and leather sleeves — no animal was off limits.

Clothes in the 1940s were very bright and colorful. The brighter the better. Women’s shoes were often one of three popular color choices: red, white or blue.

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1950's Shoes

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1959

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IN 1959 many designers created new silhouettes by folding large pieces of fabric around the body. Necklines took on sweeping angles, creating a dramatic geometric balance around the shoulders and throat.

The Garbo look was briefly expressed by the use of blonde fabrics, long-haired furs, loose-sashed jackets, polo coats and deep swagger hats.

The chemise and sack dresses which took over 1958 did not die out completely in 1959, but it was certainly on its way out.

By the end of 1959 the wide leather belt had returned to fashion. Around the same time Dior reintroduced the hobble-skirt.

Chanel was still wildly popular. Her casual, open, hip-length blazer jackets were imitated by almost everyone.

1959 witnessed the fall of the short jacket on suits as women preferred longer, slimmer jackets.

Fabric and trimming provided a sense of luxury. Furs such as mink, sable, leopard, fox, chipmunk and even tiger and sebra were sold worldwide. If the evening dress were not made of metallic brocade, velvet or satin, then it was certainly covered in sequins.

High hats, worn straight or far back on the head, covered most of the wearer’s hair. Shoes changed from pointed toe and high spike heel to rounded toes and moderate heels in 1959.

Popular colors in 1959:

- Taupe and olive green
- Bold contrast in large areas (black/white)
- Brown
- White
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Victorian patterns

Fashion in 1958

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Fashion in 1958 was very much focused on changing the shape of the silhouette. While many hated the loose fitting sack dresses, designers scrambled to come up with a replacement. The triangular “trapeze” shape was introduced next, but still considered too extreme for many women.

However, women were very excited about the new looser fitted clothing and rushed to buy them in the spring, but the fad died midway through the summer.

Designers also made more effort to accommodate various shapes and sizes of women. No longer would a one-shape-fits-all approach work. Tops were soft and skirts fell smoothly to a tapered hem.

Coats also followed the chemise or trapeze shape, with wide collars and buttoned front. Suits were unfitted with jackets typically grazing the hip, while being cut without flares. Suit skirts were straight and form fitting, tapered and pleated.

Hats, shoes, hair and fur were all quite important in the 1958 wardrobe. A wide variety of hats, often tall and set back on the head, were worn in various settings.

While fox, lynx and black-dyed mink were hot items, Chinchilla established itself as the preferred luxury fur in 1958.

A popular campus outfit might consist of a long, bulky sweater over top of a skinny skirt or pants. Synthetic fabrics such as Orlon, Dacron and Acrilan were all being met with greater acceptance.

The epoch of vibrant color still carried on strong. Popular colors included bright yellow, vibrant blue, violet (ranging from mauve to royal purple), emerald green, and reds (including magenta, pink and fuscia). The popular basic color was sandy beige.

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1957

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As one fashion writer put it, 1957 was the year in which Gabrielle “Coco” Chanel (at age 74) became “an adjective in her own time.” Sort of like “Googling,” Chanelisms had been creeping back into fashion ever since the lady emerged from retirement several years before, but in 1957 they were ubiquitous.

1957 Sack Dress

Short, non-fitted suit jackets often strung with brass buttons and pockets, almost always opened to show the blouse inside; sleeves peeled back to show a shirt’s cuffs; magniﬁcent fakes such as yards of “pearls” and colored stones looped round the throat, or a jeweled Maltese cross winking on a lapel; Bretons perched on the back of the head; pull-overs that matched a jacket’s lining; jerseys, tweeds, brocades; her famous lace evening dresses — all were stamped with elegant nonchalance.

Chanel’s open-jacket policy made display pieces of blouses. No longer a suit’s silent partner, but often the focal point of a costume, the “blouse beautiful” came on the scene.

Even the man-tailored shirt showed signs of softening. Sweaters softened too, as did skirts — the latter via a sash or fringe or other dressmaker detailing.

Pleated skirts came in view, too, topped often by middies (another Chanel-ism) or an overblouse. Among the most ardent devotees of the Chanel look was the American college girl, a breed famous for its fashion nonchalance — a nonchalance proved by her eager embrace of the raccoon coat vintage 1925 (it had to be seedy or it would not do) and the newly revived Shetland sweater.

The biggest bombshell of 1957, however, burst just four months before the year ended when Paris, led by Christian Dior, ushered in the shift. It was, tragically, the last of his surprises. Dior died in October, and was mourned as one of the world’s greatest designers. Saint Laurent was appointed Dior designer.

A dress that bypassed the waist completely, it was actually the climax to a long-evolving “relaxed look” that was everywhere gaining favor. This caused huge publicity unequaled since 1947 when Dior introduced his “New Look.” Ribbons, buttons and bows achieved new importance with the disappearance of waistlines.

The best news about the new fashion for many men who bemoaned the disappearance of the female waistline was that it meant higher hemline. And that in turn meant the longer the leg, the lower the heel of the shoe, and women ﬁnally started climbing down from the stiletto heel, but still clung to the stiletto toe.

Their stockings often reﬂected the shade of the shoe. Hats were reduced to head size, with Bretons, berets, cloches, and slouch hats very popular. So were turbans, tipped back from the face. Gloves grew longer, past the wristbone on to opera length.

The vamp was back. Nonslinkers chose satins, brocade-stiffened fabrics that belled rather than ﬂuttered. The cloche hat, hidden waistline and pleated skirt were prevalent in 1957 fashions.

Fashion in 1956

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Fashion in 1956 took a sharp turn to the more elegant and intricate. For the last couple years women had been wearing simpler designs, but in 1956 they wanted something a little more classic, more personal and more formal.

A major influence on U.S. fashion was the Broadway musical My Fair Lady, which focused on the whimsical styles of the pre-WWI period. Juxtaposing this wholesome look, however, was the popular spy costume which consisted of a slinky, black, long-sleeved dress with plumed hat or bejeweled turban.

The Asian look, which had been so important in 1955, became even more popular in 1956. This style had not changed much from the year before; sapphire blues and emerald greens were still the most common colors.

Designers tried to replace the jacket with all types of capes, while sports clothes took on a more “boyish” look. This was accomplished by a more slender, straight and narrow silhouette.

Many women looked for clinging fabrics such as ribbed cardigans and knit sweaters. The bulky knit coat sweater and full-length coat were popular daytime choices.

Furs were still still popular in 1956, mostly as collars on tailored suits, evening dresses and coats.

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Fashion in 1955

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In 1955, women’s clothes had a simple, young and sexy appeal. There were flavors of the 1920s thrown in, but it was done in a subtle, contemporary style.

Women loved sheaths and rarely wore belts. The bosom line was high and round, the hipline often carried accents, such as sashes.

Fashion in 1955 was heavily influenced by Asian design; Japan and India in particular. Tunics were very popular, making their presence felt in collections ranging from Charles James to Givenchy. By the fall season, the “oriental look” was the definitive silhouette.

In keeping with the Asian theme, Indian saris and Persian brocades were sold by the thousands.

Designers also made an effort to widen the shoulder without padding. Many were able to do so by giving tailored sleeves a small rounded bump at the top.

Casual clothes were more popular than ever before. While fashion houses were still very much focused on couture, the everyday wardrobe held an important place in the fashion world.

But women still loved to get dressed up! And when they did they wore the long evening dress, instead of the short dress that had been popular in recent years. Ball dresses were not too long, but not too short. Evening dresses were often made in sheer wool chiffon or thin wool jersey, mingled with gold.

In fact, the desire for fancy fabrics had not waned one bit. Thistledown was stressed in woollens and tweeds. Some woollens were even woven with mink, sable, angora or cashmere.

Blazer stripes, with bold and contrasting hues, were seen in all types of sports clothes. Young people loved plaid.

Fur finally cemented its comeback. Women loved mink and sable edged evening coats in 1955. Evening coats (with wraps) were very important in a woman’s wardrobe that year.

Because of the heavy Asian influence, fashion in 1955 is easily distinguished by its wide variety of unexpected colors. All shades of red were popular, as well as emerald green, deep yellows and sapphire blues. Once again, brown was the choice for basic colors.

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Fashion in 1953 /1954

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1953 ushered in a mood of sleek, slender elegance — at once young and sophisticated. Hemlines, waistlines and hairlines all grew shorter. Buzzwords at the time were “shape” and “sheen.”

The waistline relaxed from the hipped tiny span that accompanied the full silhouette of the two previous years. The semi-fitted suit with a narrow jacket very slightly indented at the waist and the form-fitting sheath dress were introduced. Many dresses were beltless, although wide sashes and draped cummerbunds were popular.

Skirt lengths aroused world-wide controversy in the media. Beginning the year at an average height of 13 inches above the ground, they suddenly rose to 14 to 15 1/2 inches from the floor.

This was typical of fashion though. The hemline gradually moved up one inch per year every five years and then it moved back down and started all over again.

The “Italian” haircut, covering the head in short layered locks and with carefully casual tendrils brushed forward around the face was the successor to the shorter, curlier “poodle” cut.

Woman Wearing Fur Stole (1953)

Young women continued to wear crinoline petticoats under extra-full skirts and clasped their waists with wide leather belts or cummerbunds.

The form fitting silhouette was softened by distinct bulk at the top, by a back-flaring profile line and by necklines opened wide in a cuff or fold around the throat and chest. Those wide open necklines were filled in with multiple strands of pearls or soft scarves.

Slacks at home were tapered to the leg like Edwardian trousers, long shorts were tailored of fine flannel. Bathing suits were either seductively molded to the figure or made like little girl rompers.

Accessories were sumptuous, frivolous and alluring. Very bare shoes with jeweled heels, toes or instep bands were a colorful addition to evening clothes. The most typical and universal accessory was the stole, which was work with suits, dresses and evening clothes. They were long and wide and made of cotton, wool, silk or fur.

Large hoop earrings were a big deal in 1953.

The natural look of makeup had one important exception in the vogue for the doe-eye. A fine penciled line edging the entire eye and extending in a slant to the corner, the elongated eye enjoyed great popularity.

Norman Hartnell designs Queen Elizabeth II’s coronation gown.

Fashion in 1954

Fashion changes seemed to be following a seven year pattern as the dynasty of the full skirt and tiny waist had come to an end. 1954 wanted a prominent, pointed bosom and a straighter, softer silhouette.

Many U.S designers featured relaxed waistlines, placed less importance on the bust and placed belts, sashes and drapery at the hip. The intent was to give the appearance of a longer torso.

Dior presented the H-line, which had a silhouette relatively straight from shoulder to hip. His designs were strikingly different, raising the bust nearly two inches.

1954 fashion was marked by a subtle, elegant mood. Soft and often brightly colored, high quality fabric was in high demand.

The costume look was in full swing in 1954. Coats nearly always came with matching dresses and jacket costumes were accompanied by specially designed overblouses. Jackets came in varied lengths, with shortest a bosom-high bolero and the longest was aptly named the “skyscraper jacket,” designed by Ben Zuckerman.

Some necklines rose in the front, but dropped to almost nonexistence on evening dresses. The jumper became just as important as the blouse and skirt. Slacks were shorter and shorts were longer. Long sweaters were worn over skirts and pants.

Longer necklines and colored beads made costume jewelry heavier and more noticeable than it had been for several years.

Hats remained small, but would do a number of things to form a pronounced, uneven shape. Some hats would come to a point, while others might shoot out in the back. Fur was another accessory that saw a resurgence, back from its own seven-year lull.

Irish linen and silk were easily the two most desirable fabrics in 1954. Now that Irish linen had been made wrinkle-resistant, it was even more sought after than before.

High fashion had not quite adopted the so-called miracle fabrics, but everyday people loved to wear Orlon sweaters.

Prints enjoyed their own comeback, with people sporting patterns on all kid of fabrics like cotton, organdy and silk.

Popular colors in 1954 include ivory, Celadon (a greenish color), blue and pink. People also loved paisley and plaid, but in exciting new color combinations. Brown was the most popular basic hue.

Fashion in 1952

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1952 Dior Dress with prominent waistline

Dior’s markedly high waists melted, as the year went on, into a development of his earlier princess dresses a molded figurine line, which followed the figure as closely as a swim suit from high neck through waist to hips, and then flared gently.

Otherwise, one designer after another forsook the Dior high-waist camp, and went over to Balenciaga, who put all his strength and authority behind his slack-waisted dresses and middy-line suits. His clothes developed a wonderful ease, being cut just not to touch the body, in contrast to Dior’s which never lost contact with it.

Each line called for a different type of corsetting, a different figure, a different posture, a different personality. Whether the two could continue to exist side by side or whether one would eventually triumph over the other remained to be seen.

It seemed that, since the end of World War II, fashion was taking a long time to settle into an accepted form which would stand, historically, as the look of the mid-century; but maybe it was part of the character of the time to allow this latitude for women to suit themselves instead of forcing them into a mold that might be suitable or unsuitable.

An evening gown by Griffe (Paris) would be in shell pink chiffon with a harem skirt that flows straight from high draped bust.

1952 Balenciaga with No Waistline

Interesting adjuncts to the waistline controversy were a legion of boleros, spencers, minute hug-me-tights; deep yokes, with pretty feminine pleating breaking from them to form an entire dress; belts low slung at the back or following the hemline of jackets; belts buckled across the chest or, on the contrary, cummerbund belts, wide or elasticized, the better to grip the midriff.

Day necklines ranged from the turtle or polo and the high straight Chinese neckband, to the draped cowl and the deep wide round scoop, which was first used for cocktail clothes but came to be seen increasingly for informal dresses. Even suits had deep standaway necks, sometimes filled in with a ribbon tie, a scarf or gilet, but sometimes bare.

Coats narrowed from the sheltering tents of earlier seasons. Loose coats hung straight without surplus fullness and there were many fitted princess coats logical over the molded figurine dresses.

Skirt lengths dropped an inch or maybe two, till 11 inches from the ground was the pronounced length; but here again women suited themselves and slightly varying lengths were seen, permissibly. The trumpet skirt shape kept narrow till mid-thigh and then, breaking into flares or deep pleats, invaded even furs.

Speaking of furs the 100% purchase tax on a fur-trimmed garment had kept fur-trimming to the minimum. With the reduction of this tax to the normal level, fur trimming rushed in. Fur collars, cuffs, pockets, bands and linings abounded; together with fur muffs, stoles and capes. Fur fabrics improved enormously and made luxurious linings in couture clothes and whole coats in the ready-to-wear ranges.

The newest and most characteristic hats of the year were the bathing-cap hats, hugging the head and at their most pronounced swallowing every vestige of hair. The young and beautiful wore them rejoicing, bandaging their heads with jersey, satin or velvet in lines which extended the shape of the head at the back. Those less favored in features consoled themselves with little flat top-of-the-head pancakes or modified pill-boxes, or big-brimmed summer straws: another example of fashion’s leaving a wide freedom of choice to the individual.

The short evening dress divided into two main types. There were the day-length dresses, usually narrow sheaths, with strapless, halter or camisole tops covered by matching boleros in dark colors, for wearing at the theater or the restaurant dinner. And then there were the short dancing dresses, with bouffant skirts falling to around ten inches from the ground. These last began to be seen at young weddings sometimes for the bride, but more often for the bridesmaids.

There were two types, also, among the full evening dresses: the slender and the wide-skirted again to suit the wearer and the occasion. The trend for shoulder straps continued, with a special feeling for the one-strap decolletage, and the halter
neck, but the strapless look remained firmly established especially for crinoline dresses

Cocktail clothes began to change character through the introduction of softer fabrics notably lace and crepe. Path’s fine jersey sweater over a crystal-pleated lace dress was a new and refreshing note. But the newest-looking skirt Dior’s square Infanta shape was earned out, of necessity, in the stiffest of moires.

In the matter of fabrics, there were many developments to celebrate. The slub weaves were supreme: the Donegals, the nubbly woolens and linens; the shantungs. Tweeds swept the field for autumn: sophisticated pebbly tweeds which came to town in a big way especially in black and white.

Fabrics and designs somewhat eclipsed in recent years, but now staging a spectacular come-back, were chiffon, crepe, lace and all the prints: notably dark motifs on a dark ground, blurred flower prints, and a striking series of prints with fur markings which brought prints well into the winter picture.

In colors the chief basic shade was grey, especially in its darker reaches; all the sherry colors from pale to dark; the butter colors, the blonds.

There were innumerable greens, ranging from palest almond through olive to bottle and fir green. White carried off special honors: white pleated crepe for day, white lace for afternoon; a cloud of white dancing dresses, long and short; white coats over dark dresses; little round white snowball jackets; and white touches by the million including white hats and not only for high summer, but far into the winter. There were good blues in the turquoise and Chinese range, with peacock and kingfisher for accents.

The lilacs and the lavenders made a pretty show, and so did the wild-rose pinks for evening.

Formal shoes became even lighter and more delicate, till they were only held to the foot by a cobweb of straps. Stoles multiplied and flourished, in every fabric for every occasion: the newest being ring stoles, just shoulder width, in everything from fur to lace.

Blouses became so important that they emerged from under the shelter of suits and functioned on their own, linked with their skirts by beautiful belts.

In 1952, the Italian fashion shows known as Sala Bianca are launched in Florence, Italy.

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2014-12-28T15:29:00.002+02:00

Fashion in 1951

In 1951 the fashion world seemed unsettled on exactly where the waistline should be. Many designers, especially Dior, employed various techniques that brought the waistline higher.

Life Magazine cover featuring Dior

A higher waistline gave the dress a longer look, when in fact most hemlines had only dropped about an inch.

Balenciaga went the other direction and took on a 1920s look, but it didn’t catch on like he’d hoped.

Many women went a different direction altogether, piecing together their own postwar look with wide skirts and tailored suits.

The wide look was accomplished by all-round pleating, flares and stiff crinoline petticoats. This fashion was first seen in American ready-to-wear collections and then later made its way back to Paris.

Remarkably, the United States was setting fashion trends around the world. The “American Look” especially appealed to the young.

In 1951 designers focused most of their efforts on innovating the sleeve. Shoulders were smooth, but some sleeves swelled drastically. Others jumped out in fans or tiered pagoda ruffles. Classic suits had three-quarter bell sleeves.

1951 also saw the return of the redingote as many women finally left their tent coats in the closet.

Other popular styles in 1951 include:

- tailored tweed dresses
- fur trimmings (Persian lamb, ocelot and civet cat)
- Short decollete dresses with cover-up jacket or bolero
- ankle-length dinner dresses
- overcoats made of shaggy material
- wide brimmed, shallow crowned hats
- small daytime hats adorned with jewels
- brooches
- inch-high Cuban heels

Popular colors in 1951:

- charcoal gray & gunmetal
- several types of greens (from emerald to dark fir)
- blues (in the turquoise to peacock range)
- royal blue & black combo
- Purple & lavender
- orchid pink

Fashion in the 1950s

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Fashion in the 1950s varied greatly from the beginning to end. Maybe not quite as extreme as the 60s, 1950s fashion saw the introduction of many new styles as well as many styles that paid homage to the 1920s.

The waistline was a major issue in the 1950s. Some women really like the snug fit of the Dior dresses while others liked the dresses with no waistline, often referred to as “sack dresses.”

The important thing is that people were beginning to feel a little more freedom when it came to their fashion choices. No longer did people feel like they had to conform to a certain look for certain situations.

The first years after World War II might be regarded by fashion historians as a period of transition, a period of groping after the lines into which fashion would settle for an 8-year or 10-year span.

No final answer to questions about the waistline was given in 1952. The phrase “the wandering waistline” was coined at the Paris spring collections and the waist continued to wander to the point of disappearing, throughout the year.

1953 ushered in a mood of sleek, slender elegance — at once young and sophisticated. Hemlines, waistlines and hairlines all grew shorter in 1953. Buzzwords at the time were “shape” and “sheen.”

1957 was the year in which Gabrielle “Coco” Chanel (at age 74) became “an adjective in her own time.” Sort of like “Googling,” Chanelisms were ubiquitous.

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Fashion in 1950

The year 1950 could be seen as continuing the transition. Fashion remained deliberately fluid, throwing out feelers in all directions, when they all swing one feelers were cast in the direction of the 1920s, especially by Hardy Amies in London, who showed suits with straight unbelted hip-hugging jackets over straight skirts.

In Paris, too, Dior launched a “vertical line” — sheath dresses whose narrow straightness was emphasized by fine pleating or tucking, or by narrow ribbon bands running from neck to hem. Sheath dresses prevailed for day and evening.

The basis was a figure-fitting sheath, but only in certain instances was this left in a simple, uncompromising form. In general, the narrow line was broken by a jutting sash, a hip bow, an apron skirt, a floating scarf or, for evening, draped complications at hip level.

Another trick for taking the eye off the sheath skirt was the use of transparent fabrics for overskirts and for coats.

In 1950, we see the first Pierre Cardin collection.

Simple tailored coats in chiffon, lace and organdie floated over narrow summer dresses. Loose coats in thin silk were worn over suits, and the prettiest evening coats were those which added no whit of extra warmth but floated with the transparent buoyancy of balloons over narrow or crinoline evening dresses.

Dior dress from Fall/Winter 1950

Although the straight hip-hugging jacket did not seem to make much headway in its extreme form, modified versions of the same feeling were seen in the prevalence of low buttoning and low-placed pockets. Many suits were open to the waist, and buttoned importantly below it. Revers became almost waist-length, leaving a horse-shoe opening over a blouse.

In the spring Dior first showed a dress slim to the knees and then breaking into pleats which developed by the autumn into the full flare of the trumpet skirt. This, in day and evening versions, swung in heavy pleats or stiffened flares, from knee-level, below the simplest of sheaths. When skirts remained narrow, as did the majority, jackets took to flaring out above them from a once-more nipped in waist, and tunics with bell-shaped peplums cut across their pencil straightness at mid-thigh level.

The vertical look changes to diagonal by autumn

In the meantime the vertical look of spring had changed its slant and became a strongly diagonal look by the autumn.

Pleating and tucking, seaming and buttoning, wrap-overs and scarves, all took this diagonal slant. Scarves swelled during 1950 into the proportions of a stole, often a stole so big that it was a wrap in itself. By day, collars had scarf ends that slanted diagonally across the bodice to be pulled through a belt.

Stoles a yard wide and three yards long had their great bulk wrapped around the shoulders of suits, or hung from the neck like jacket fronts, ending in deep pockets.

By night, stoles to match or contrast with the dress fell to the hem, while others ended in fur cuffs or in gloves which held them across the shoulders. The summer’s billowing look of transparent fabrics found solid expression in the most memorable clothes of Balenciaga’s memorable autumn collection, in which taffeta appeared to have been blown up into pumpkin skirts and vegetable-marrow sleeves.

By autumn the box jacket had curved into the short barrel coat, cut away in front. “Little top-coats” became an important fashion feature. Anywhere from hip to 7/8th length, they were more than jackets, less than full-scale coats.

Some were belted and flared in a tunic line; others had a barrel curve; others hung straight almost to the knees; others swung loose. Of the full-length coats, the newest in line were the straight and narrow, sometimes held by a single, off-center buttoning, sometimes double-breasted.

Important double-breasted buttoning was also seen on the skirts as well as the bodices of suits and dresses; altogether there was a great impression of plain tailored buttons being lavishly used on all types of day clothes to emphasize the line.

Fur makes a comeback in 1950

Fur trimmings were back! But this time with more taste and restraint. Deep fur cuffs would be the only fur touch on a cloth coat; the collar would be small and tailored.

By contrast, a coat with cossack collar in astrakhan would have plain uncuffed sleeves. Fur linings, often showing themselves in turn back revers, bulked “little top-coats.” Linings attracted a great deal of notice to themselves.

The many reversible fabrics demanded a handling that would display both their sides and not only jackets but skirts and sleeves were slit to show contrasting linings; sober coats of black, brown and grey swung open to reveal bright and shiny interiors.

1950s Dresses & Skirts: Styles, Trends & Pictures

2014-12-28T15:11:00.000+02:00

Dresses from the 1950s are easily spotted. The hemline stops around the knee, they look best over a stiff petticoat, and they were a lot of fun to twirl in!

1950s dresses, “swing dresses” as some are called, are coming back into style. Women who love vintage style are going for the malt shop look. It’s not a hard look to achieve, and doesn’t require much maintenance, but you have to nail the dress.

What were the most popular styles of 1950s dresses? Like every decade since the 1920s, there were a lot of different and experimental styles. But there are several things that dress designers did that were unmistakably fifties.

First example? When sitting down, many 1950s dresses make the shape of a perfect circle. Some people call those “circle dresses.”

Some dresses had large bows at the waistline. Many dresses and skirts were pleated. Plaid was very popular and so were floral prints, polka dots and stripes. Wide collars were known to happen and so were puffy shoulders, but not necessary at the same time. The daytime hemline stopped around the knee, but evening dresses were usually long, flowing and to the ankle.

All types of fabrics were used. The 1950s were a pretty decadent decade so the most luxurious fabrics like satin and silk were preferred.

In the mid-50s, some dressmakers tailored dresses with long sleeves. Also, gloves were coming back into fashion, with white being the glamorous choice. From the mid-50s on, dresses had bouffant petticoats underneath. The teenaged girl in the 1950s wore white ankle socks with dark colored closed-toe shoes.

The late fifties saw a surge in popularity of Asian-themed dresses. Also red was a very popular color in the late 1950s.

Obviously the generalizations I make above don’t apply to every dressmaker in the 1950s. Almost every fashion designer tried to break the mold in some way or another. It was a very exciting decade for women’s fashion indeed.

1940s Dresses & Skirts: Styles, Trends & Pictures

2014-12-28T14:51:00.000+02:00

1940s Dresses & Skirts: Styles, Trends & Pictures

Dresses in the 1940s were fantastic. The decade witnessed a surge in creativity that had never been seen before. Fashion designers were distinguishing themselves ever further from dressmakers with modern designs and luxurious fabrics.

The decade started quiet, however. Rations caused by war had a heavy effect on all industries, textiles included. Women were wearing suits as much as dresses, if not more during the war. After the war is a different story.

In protest to grim times, color swept over the fashion landscape. Acid greens, hot pinks, reds and pale blues were popular hues in the early 1940s. Blouses contrasted with skirts as the shirtwaist and skirt trend really took hold.

Bright printed calico skirts, known as “broomstick skirts” were quite popular also.

During the war, the U.S. issued an embargo on Japanese silk, prompting women across the country to rush stores in an effort to stock up on hosiery. In some parts of the country, police were called in to control crowds.

The 1940s held a special fondness for the short evening dress. This dress focused attention on the ankle and shoe, sometimes clearing the floor by up to ten inches.

Day dresses were often pastel, with Peter Pan collars and full gathered skirts. Wide-necked dresses were also in high demand.

Women had an incredible amount of options when it came to dresses. From black starched mousseline dresses with ruffled jabots to glazed chintz dirndls with white lace and pink satin — it seemed nothing was off limits.

No 1940s dress was complete without fur, gloves and a large piece of jewelry. A fine necklace wouldn’t hurt either.

Some popular dress designers from the 1940s were Pierre Balmain, Jean Desses, Christian Dior, Anne Klein among several other big names.