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(Text)
1990s
MINIMALISM
CALVIN KLEIN
1990s
GRUNGE
MARC JACOBS FOR PERRY ELLIS
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42 THE FASHION DESIGN REFERENCE + SPECIF ICATION BOOK
(Text)
1910s
In a s h a r p d e p a r t u r e f r o m t h e e l a b o r a t e t a i l o r i n g a n d p a t t e r n ma ki n g t h a t h a d r u l e d f a s h i o n ,
Pa u l Po i r e t b a s e d h i s d e s i g n s o n s i mp l i ci t y o f s t r u ct u r e a n d d r a p i n g . In u e n ce d b y t h e Ba l l e t s
Ru s s e s a n d d r a w i n g o n h i s e xp e r i e n ce w i t h f u r a t t h e Ho u s e o f Do u ce t , h e b e ca me f a mo u s f o r
h i s h o ma g e s t o o r i e n t a l i s m, i n cl u d i n g t h e h a r e m a n d l a mp s h a d e l o o ks h e l a u n ch e d i n
1913.
Al t h o u g h r e me mb e r e d f o r h i s o w i n g u n s t r u ct u r e d g a r me n t s , Po i r e t w a s a l s o t h e cr e a t o r o f t h e
h o b b l e , a s ki r t s o n a r r o w i t r e qu i r e d a kn e e -l o n g co r s e t o r b e l t i n g t h a t r e s t r i ct e d a w o ma n ’s
l e g s b e l o w t h e kn e e t o ke e p h e r f r o m t a ki n g w i d e s t r i d e s . De s p i t e i t s co n s t r a i n t , t h e h o b b l e
s ki r t p r o ve d p o p u l a r a mo n g f a s h i o n a b l e w o me n .
Th e t e a g o w n s o f a r t i s t /i n ve n t o r Ma r i a n o Fo r t u n y e mp h a s i ze d t h e f e ma l e g u r e i n mo t i o n . He ,
t o o , l o o ke d t o t h e cu l t u r e s o f t h e Or i e n t f o r h i s e xp e r i me n t s i n t e xt i l e d e s i g n . Fo r t h e Gr e e k
s cu l p t u r e –i n s p i r e d De l p h o s g o w n o f 1907, Fo r t u n y ’s u n i qu e n e -p l e a t i n g t e ch n i qu e s e cu r e d
o n e o f ma n y p a t e n t s t h a t h i s i n n o va t i o n s w o u l d e a r n . Hi s l o n g b o d y -co n f o r mi n g g o w n s w e r e
w o r n b y f a mo u s w o me n o f t h e t i me , s u ch a s d a n ce r Is a d o r a Du n ca n a n d a ct r e s s Li l l i a n Gi s h ,
a s w e l l a s s o ci e t y l a d i e s .
Bo t h t h e s u f f r a g e mo ve me n t a n d Wo r l d Wa r I, d u r i n g w h i ch w o me n s u cce s s f u l l y l l e d r o l e s
u s u a l l y o ccu p i e d b y me n , r e d e n e d a w o ma n ’s ca p a b i l i t i e s . Cl o t h i n g d e s i g n h a d t o r e s p o n d t o
w o me n ’s d e s i r e t o i ma g i n e a mo r e a ct i ve p a r t i n t h e i r o w n l i ve s a n d s o ci e t y a t l a r g e . Th e w a r
a l s o h a d a ma jo r e f f e ct o n w o me n ’s f a s h i o n b y w a y o f t h e a d o p t i o n o f g a r me n t s , l i ke s w e a t e r s
a n d t r e n ch co a t s , t h a t w e r e t r a d i t i o n a l l y w o r n b y mi l i t a r y me n .
1920s
Ce l e b r a t i n g y o u t h a f t e r t h e d e va s t a t i o n o f t h e Gr e a t Wa r , t h e Ja zz Ag e w a s a t i me o f
b r i g h t y o u n g t h i n g s . Wo me n b o b b e d t h e i r h a i r i n t o b o y i s h s t y l e s s u ch a s t h e e t o n a n d t h e
s h i n g l e , t o p p i n g t h e m o f f w i t h n e w s b o y ca p s a n d cl o ch e h a t s . Si l h o u e t t e s s u p p r e s s e d t h e
b u s t , h i d t h e w a i s t , a n d f a vo r e d n a r r o w h i p s . He ml i n e s r o s e b u t n o t u n t i l 1927 d i d t h e y
r e a ch a b o ve t h e kn e e , o n l y t o co me cr a s h i n g d o w n w i t h t h e St o ck Ma r ke t i n 1929. Wo me n
e mb r a ce d p u b l i c b e h a vi o r d e s i g n e d t o s h o ck. Ap p l y i n g ma ke u p , s mo ki n g , d r i vi n g , a n d
p a t r o n i zi n g s a l o o n s , ca b a r e t s , a n d s p e a ke a s i e s i n t h e f a ce o f Pr o h i b i t i o n a cce n t u a t e d
t h e r e b e l l i o u s n a t u r e o f t h e p e r i o d . In 1920 Fr a n ce s Ma r i o n ’s mo vi e The Flapper, s t a r r i n g
Ol i ve Th o ma s , d e f i n e d t h e i co n o f t h e Ro a r i n g Tw e n t i e s . La t e r , a ct r e s s Cl a r a Bo w b u i l t h e r
ca r e e r o n t h e s ca n d a l o u s Fl a p p e r i ma g e . Th e e xca va t i o n o f Tu t a n kh a mu n ’s t o mb i n 1922
a l s o i n f l u e n ce d f a s h i o n a n d a cce s s o r y d e s i g n .
He l p i n g t o s e t t h e n e w t o n e i n Fr a n ce , Co co Ch a n e l e s ch e w e d t h e co r s e t f o r a r e l a xe d , mo d e r n
s t y l e . Sh e b e ca me r e n o w n e d f o r b o t h h e r b e a d e d d r e s s e s a n d h e r s i mp l e je r s e y s u i t s a n d
kn i t w e a r , i n cl u d i n g h e r s i g n a t u r e ca r d i g a n ja cke t , w h i ch e n d u r e t o d a y . An o t h e r l e a d i n g d e -
s i g n e r t o f r e e w o me n f r o m t h e co r s e t i n t h e 1920s w a s Ma d e l e i n e Vi o n n e t , w h o a ch i e ve d f a me
f o r h e r b i a s -cu t cl o t h i n g t h a t a cce n t u a t e d t h e n a t u r a l cu r ve s o f t h e f e ma l e f o r m. He r s e n s u a l
a n d e a s y -t o -w e a r d e s i g n s w o u l d r e ma i n a f o r ce t h r o u g h o u t t h e f o l l o w i n g d e ca d e .
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Fashion History 4 3
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Clara Bow in Get Your Man, 1927
Photograph by Hulton Archive/Getty Images.
1930s
In response to the Great Depression, fashion embraced escapism. In the 1930s people in the
long lines wrapping around city blocks might as easily be waiting for bread as for a movie.
Hollywood became the reliable source of fantasy and hope for a better tomorrow, and movie
fashion became the epitome of glamour and grace. Consider Jean Harlow’s ethereal glow—the
r e s u l t o f d o u b l e -p r o ce s s e d b l o n d e h a i r , p o w d e r e d s ki n , a n d o w i n g s i l k s a t i n g o w n s .
Amo n g t h e mo s t me mo r a b l e d e s i g n e r s o f t h e d e ca d e w a s El s a Sch i a p a r e l l i . Sh e h a d a t a s t e
f o r t h e a t r i ca l d e s i g n , a n d h e r s i g n a t u r e co l o r w a s a h o t “s h o cki n g ” p i n k. (He r d e s i g n e r f r a -
g r a n ce w a s a ct u a l l y n a me d Sh o cki n g . ) Th e d a d a a n d s u r r e a l i s t mo ve me n t s n o t o n l y i n u e n ce d
h e r f a s h i o n s , t h e y b e ca me a p a r t o f h e r d e s i g n p r o ce s s t h r o u g h co l l a b o r a t i o n s w i t h t h e l i ke s
Ma r ce l Du ch a mp , Ma n Ra y , a n d Je a n Co ct e a u . Bi g g e r -t h a n -l i f e l o b s t e r p r i n t s a n d s h o e -s h a p e d
h a t s w e r e a mo n g t h e f r u i t s o f h e r p a r t n e r s h i p w i t h h e r f r i e n d t h e a r t i s t Sa l va d o r Da l í.
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4 4 THE FASHION DESIGN REFERENCE + SPECIFICATION BOOK
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Elsa Schiaparelli in her study
Photograph by Hans Wild/Time Life Pictures/Getty Images.
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Fashion History 4 5
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1940s
World War II made fashionable a patriotic “make-do-and-mend” approach. In the United States
this attitude prevailed not just at home but within the fashion industry as well. Paris, the fash-
ion capital of the world, was cut off, but American designers rose to the challenge of designing
without the bene t of the French perspective. In conjunction with a growing desire for comfort,
this wartime necessity ushered in the age of American sportswear. Chief among designers to
promote American ready-to-wear was Claire McCardell. McCardell, who had already turned her
back on Paris by 1940, brought imagination and style to a wide range of practical clothing that
suited a more relaxed lifestyle.
Shoulder bags became popular during the war, thanks their use as part of the Women’s Army
Auxiliary Corps (WAAC) uniform, which did not provide the wearer with any pockets. At the
war’s end, the popularity of the zipper, which Schiaparelli had featured in her gowns in the
1930s, spread around the globe.
Film continued to forge an in uential relationship with fashion. Joan Crawford’s broad-
shouldered gure, rooted in an empowering military silhouette, came out of her loyal relation-
ship with designer Gilbert Adrian. The exaggerated shoulder pads that de ned her striking
looks for day and evening were widely copied by the ready-to-wear industry.
In 1947 the couturier Christian Dior introduced his Corelle collection, whose soft shoulders,
nipped waist, and extravagantly full skirts are often described as a response to wartime
austerity and its strict restrictions on fashion. Carmel Snow, then editor of Harper’s Bazaar,
dubbed the generous and hyperfeminine silhouette the New Look, and it would become a
prevailing shape for the fashions of the 1950s.
Photograph by Hans Wild/Time Life Pictures/Getty Images.
Photograph by Roger Wood/Getty Images.
Christian Dior in his Paris workroom
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