Table Of Content

sssssssssssss mmmmmmmmmmmmm iiiiiiiiiiiii ttttttttttttt hhhhhhhhhhhhh sssssssssssss ooooooooooooo nnnnnnnnnnnnn iiiiiiiiiiiii aaaaaaaaaaaaa nnnnnnnnnnnnn F A S H I O N FASHION THE DEFINITIVE HISTORY OF COSTUME AND STYLE FASH ION FASH ION THE DEFINITIVE HISTORY OF COSTUME AND STYLE LONDON, NEW YORK, MELBOURNE, MUNICH, AND DELHI DORLING KINDERSLEY Senior Editor Kathryn Hennessy Senior Art Editor Gadi Farfour Project Art Editor Amy Orsborne Editors Anna Fischel, Ann Baggaley, Scarlett O’Hara, Alison Sturgeon, Camilla Gersh, Ashwin Khurana Designers Paul Drislane, Kirsty Tizzard Art Worker Philip Fitzgerald Glossary Illustrator Katie John Editorial Assistants Alexandra Beeden, Damilare Olugbode Photographers Gary Ombler, Paul Self Picture Researchers Liz Moore, Sarah Smithies DK Picture Library Claire Bowers, Emma Shepherd, Claire Cordier CHAPTER 1 Database Rob Laidler, David Roberts PREHISTORY– 600CE Jacket Designer Mark Cavanagh US Senior Editor Shannon Beatty US Editor Jane Perlmutter US Consultant Carol Pelletier Production Editor Ben Marcus THE ANCIENT Repro Opus Multimedia Services, Delhi Producer Sophie Argyris WORLD Managing Editor Esther Ripley Managing Art Editor Karen Self Publisher Laura Buller Art Director Phil Ormerod Time line 12–13 Associate Publishing Director Liz Wheeler From Function to Identity 14–15 Publishing Director Jonathan Metcalf Ancient Egypt 16–17 DK INDIA Senior Art Editors Anjana Nair, Chhaya Sajwan Profile: Queen Nefertiti 18–19 Art Editors Neha Sharma, Nidhi Mehra, Supriya Mahajan, and Shipra Jain Minoan Culture 20–21 Assistant Art Editors Vidit Vashisht, Namita, Niyati Gosain, and Payal Rosalind Malik Ladies in Blue 22–23 Design Managers Arunesh Talapatra and Sudakshina Basu Senior Editors Garima Sharma, Sreshtha Bhattacharya Classical Greece 24–25 Editor Roma Malik Fluid Drapery 26–27 Assistant Editors Archana Ramachandran Editorial Manager Pakshalika Jayaprakash Prowess and Protection 28–29 DTP Designers Nand Kishor Acharya, Mohammad Usman, Dheeraj Arora, and Anita Yadav Style in the East 30–31 DTP Manager Balwant Singh Production Manager Pankaj Sharma Etruscans 32–33 Picture Research Nivisha Sinha and Sakshi Saluja Roman Empire 34–35 Byzantine Style 36–37 Dyes and Pigments 38–39 Smithsonian In Detail: Short Tunic and Peplos 40–41 Smithsonian Project Coordinator Ellen Nanney Style First American Edition, 2012 Published in the United States by DK Publishing 375 Hudson Street New York, New York 10014 12 13 14 15 16 10 9 8 7 6 5 4 3 2 1 181303—October 2012 Copyright © 2012 Dorling Kindersley Limited All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocoping, recording, or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. Published in Great Britain by Dorling Kindersley Limited. A catalog record for this book is available from the Library of Congress. ISBN: 978-0-7566-9835-5 DK books are available at special discounts when purchased in bulk for sales promotions, premiums, fund-raising, or educational use. For details, contact: DK Publishing Special Markets, 375 Hudson Street, New York, New York 10014 or [email protected] Printed and bound in China by Leo Paper Products Discover more at www.dk.com CHAPTER 2 CHAPTER 3 CHAPTER 4 600 –1449 1450 –1624 1625 –1789 MEDIEVAL RENAISSANCE BAROQUE AND ROMANCE SPLENDOR ROCOCO AND TRADE Time line 78–79 Time line 116–117 The Fashion Split 80–81 Men in Lace 118–119 Time line 44–45 Rich Panoply 82–83 Softer Silhouettes 120–121 The Age of Migrations 46–47 Renaissance Men 84–85 Doublet and Breeches 122–123 The Early Middle Ages 48–49 From Drape to Shape 86–87 Taffeta and Lace 124–125 Trends in Tunics 50–51 New Men in a New World 88–89 Profile: Henrietta Maria 126–127 Courtly Love and Crusades 52–53 In Detail: Saxony Ensemble 90–91 Puritan Influence 128–129 Profile: Eleanor of Aquitaine 54–55 Custom-made Armor 92–93 Opulence Restored 130–131 Priests and the People 56–57 Elegant Formality 94–95 Boned Bodice to Mantua 132–133 The East in the West 58–59 Profile: Elizabeth I 96–97 Fashion Restored 134–135 Social Statements 60–61 Female Geometry 98–99 Toward the Suit 136–137 In Detail: Cote-hardie 62–63 A New Suit 100–101 Mantuas and Petticoats 138–139 Fitting to the Body 64–65 Frivolity at Court 102–103 In Detail: Embroidered Mantua 140–141 Trailing Elegance 66–67 Male Extravagance 104–105 Mantuas and Open Robes 142–143 Knights in Armor 68–69 Trading in Treasures 106–107 In Detail: Sack Back Dress 144–145 In Detail: Doublet and Hose 70–71 Symbolism and Fantasy 108–109 French à la Mode 146–147 Regional Flair 72–73 Practical Clothing 110–111 Profile: Marie-Antoinette 148–149 Novelty and Luxury 74–75 Ottoman Finery 112–113 Baroque to Neoclassical 150–151 Macaroni to Dandy 152–153 In Detail: Streamlined Court Suit 154–155 Simpler Styling 156–157 Masquerade 158–159 Turkish Delight 160–161 Sports Dress 162–163 CONTENTS CHAPTER 5 CHAPTER 6 CHAPTER 7 1790 –1900 1901–1928 1929 –1946 FROM LA BELLE FROM REVOLUTION EPOQUE AND GLAMOUR TO FRIVOLITY THE JAZZ AGE TO UTILITY Time line 166–167 Time line 222–223 Time line 270–271 Neoclassicism 168–169 Suits for City Gentlemen 224–225 Austere Times 272–273 Empire Lines 170–171 Sport and Country 226–227 Shimmering Gowns 274–275 Regency Society 172–173 Simpler Silhouettes 228–229 Classicism 276–277 Regency Belles 174–175 Women in Action 230–231 Living Sculptures 278–279 In Detail: Regency Pelisse 176–177 Evening and Tea Gowns 232–233 Pared Down and Sporty 280–281 Delighting in the Detail 178–179 A Life of Leisure 234–235 Relaxing the Rules 282–283 The Evening Hourglass 180–181 Antifashion 236–237 In Detail: Plus Fours Suit 284–285 Profile: Beau Brummell 182–183 Wartime Women 238–239 Profile: Edward VIII 286–287 The Rise of the Dandy 184–185 Toward the New Woman 240–241 The Elegant Male 288–289 Regency Sportswear 186–187 Profile: Paul Poiret 242–243 Berliner Chic 290–291 Prints and Patterns 188–189 Orientalism 244–245 Romantic Nostalgia 292–293 Turbans and Tight Lacing 190–191 Robes de Style 246–247 Dream Dresses 294–295 Demure Day Dresses 192–193 Profile: Coco Chanel 248–249 Profile: Schiaparelli 296–297 Imperial Opulence 194–195 The New Knitwear 250–251 Women in Wartime 298–299 Crinolines 196–197 Rising Hems 252–253 In Detail: Women’s Legion 300–301 Profile: Charles Worth 198–199 Into the Jazz Age 254–255 Menswear on Civvy Street 302–303 Soft Bustles and Fishtails 200–201 Roaring Twenties 256–257 Fashion on Ration 304–305 In Detail: Bustle Skirt 202–203 In Detail: Dance Dress 258–259 Styled by Hollywood 306–307 The Rise and Fall of the Bustle 204–205 At the Beach 260–261 American Ready-to-Wear 308–309 High Ruffs and Wasp Waists 206–207 Setting Standards 262–263 Competitive Couture 310–311 In Detail: Reception Dress 208–209 Suits for All 264–265 Formal Wear for Men 210–211 Modernism 266–267 Cult of Beauty 212–213 Sportswear for the New Woman 214–215 Men of Action 216–217 Themed Costumes 218–219 CHAPTER 8 CHAPTER 9 CHAPTER 10 1947–1963 1964 –1979 1980 ONWARD SWINGING OPTIMISM THE DESIGNER SIXTIES TO AND YOUTH DECADES GLAM ROCK Time line 314–315 Time line 386–387 The New Look 316–317 Fitness in Fashion 388–389 Time line 350–351 Profile: Christian Dior 318–319 Profile: Vivienne Westwood 390–391 Mini Magic 352–353 In Detail: Wedding Dress 320–321 Must-have Labels 392–393 Profile: Twiggy 354–355 The Cocktail Hour 322–323 Profile: Jean Paul Gaultier 394–395 Mini Coats and Skirts 356–357 Postwar Perfection 324–325 A Powerful Message 396–397 Anything Goes 358–359 Couture Gowns 326–327 In Detail: Power Suit 398–399 Into the Space Age 360–361 Profile: Balenciaga 328–329 Japanese Style 400–401 Evening Selection 362–363 Feminine Form 330–331 Profile: Comme des Garçons 402–403 Profile: Biba 364–365 A Good Coat 332–333 Street Style 404–405 Menswear Goes Pop 366–367 Wives and Mothers 334–335 Dance Culture and Club 406–407 The New Dandies 368–369 Resort Wear 336–337 Runway Superstars 408–409 Profile: Yves Saint Laurent 370–371 Casual and Polished 338–339 Minimal and Conceptual 410–411 Women Wear the Pants 372–373 Hipsters and Teddy Boys 340–341 Boho Chic and Vintage 412–413 Flower Power 374–375 The Youth Revolution 342–343 Global Impact 414–415 Long Printed Dresses 376–377 Birth of the Teenager 344–345 Red Carpet Gowns 416–417 In Detail: Jean Muir Classic 378–379 Sports Style 346–347 Profile: Alexander McQueen 418–419 Stylish Casuals 380–381 A New Generation 420–421 Stage, Dance, and Party 382–383 REFERENCE Women’s Wear 422–423 Menswear 424–425 Women’s Shoes 426–427 Women’s Hats 428–429 Bags and Purses 430–431 Shaping the Body 432–433 Illustrated Glossary 434–463 Index and Acknowledgments 464–480 FOREWORD Like art, music, and literature, fashion has its own rich history. While we associate “The main thing I love about street photography,” he says, “is that you find the fashion with an almost relentless newness, it is also in a constant dialogue with its answers you don't see at the fashion shows. You find information for readers so own past: just as Picasso reverently dissected Goya, Balenciaga examined the form they can visualize themselves.” (“Bill on Bill,” October 27, 2002). Whether an of medieval religious vestments; and Mick Jagger channeled Beau Brummel in much individual act of style takes place in the design studio, behind the camera lens, or the way that Prokofiev re-framed Haydn. at home in front of the mirror, it forms part of one of our culture’s oldest and most participatory expressions, one which utterly shapes everyday human experience. While fashion historians may assert that fashion began with the development of fitted garments, and critics may argue that only a small number of wealthy individuals truly participate in the fashion system, for most of us fashion conjures an essential, perhaps innate, will to adorn and beautify our bodies, faces, and hair. Even our early human representations, the prehistoric, so-called Venus figurines, wear Susan Brown nonfunctional garments, string skirts that offered little protection or coverage. We Smithsonian consultant see and are seen: we voraciously consume images of the human figure, inhabit Susan Brown is Associate Curator, Cooper-Hewitt, National Design Museum, or reject those images in our own self-presentation, and become ourselves the Smithsonian and most recently collaborated on the exhibition and catalog Color subject of further image making. The sources of representation are punctuated Moves: Art and Fashion by Sonia Delaunay with Matilda McQuaid. She teaches in by personalities—men and women of style, from royalty to rock stars, designers, the Masters Program in the History of Decorative Arts and Design offered by the movie stars, and models, who epitomized “the look” of any given moment in time. Museum with Parsons The New School for Design, as well as lecturing regularly Photographer Bill Cunningham’s weekly “On the Street” column in The New York for the Institute of Fine Arts at NYU. Prior to joining the Smithsonian, she designed Times celebrates the complexity and exuberance of this complex visual reverberation. costumes for theater, opera, and television.