Fashion In History

severusalways:

A unique piece by Wallace Chan. The faces are carved using a technique he invented called the Wallace cut.

The figure is of Kore (Persephone), the goddess in charge of the Four seasons in Greek Mythology. The Wallace Cut allows the formerly singular image to be reflected in four sides.

Bodice
Autumn/Winter 1980
Issey Miyake 
Beautiful woman’s torso becomes a bodice. This super realistic expression was realized by taking a cast of a body with the help of a mannequin manufacturer. Although it covers the body, at the same time it makes us conscious of the body’s existence, and it even stirs a feeling of voluptuousness engendered by the contrast between the inorganic plastic and the suppleness of the wearer’s body. This is one of Miyake’s best-known works. 
This work was shown at the finale of the autumn/winter Paris collection in 1980, marking the start of the body-conscious fashion at that era. Miyake introduced a series of works including a bustier made of rattan and vinyl in 1982 and his “Silicon Body” in 1985. These works were the main exhibits in the “Issey Miyake Bodyworks” exhibition, which toured worldwide from 1983 to 1985.

Bodice

Autumn/Winter 1980

Issey Miyake 

Beautiful woman’s torso becomes a bodice. This super realistic expression was realized by taking a cast of a body with the help of a mannequin manufacturer. Although it covers the body, at the same time it makes us conscious of the body’s existence, and it even stirs a feeling of voluptuousness engendered by the contrast between the inorganic plastic and the suppleness of the wearer’s body. This is one of Miyake’s best-known works.

This work was shown at the finale of the autumn/winter Paris collection in 1980, marking the start of the body-conscious fashion at that era. Miyake introduced a series of works including a bustier made of rattan and vinyl in 1982 and his “Silicon Body” in 1985. These works were the main exhibits in the “Issey Miyake Bodyworks” exhibition, which toured worldwide from 1983 to 1985.

#Bodice #Issey Miyake #Autumn/Winter 1980
Dress (“robe à la française”) 
1760
This is a typical Rococo period women’s dress, “robe à la française”. The ensemble shown here consists of a gown, the petticoat much like what we would call a skirt today, and a stomacher made in a triangular panel shape. The gown opens in the front, and has large pleats folded up at the back. All this would be worn after formed with a corset and pannier, which acted as underclothes. Until clothing accepted drastic changes with the 1789 French Revolution, rich outfits, such as is shown here, were worn. 
During 18th century France, the court culture termed “Rococo” blossomed. The clothes of this period, like those shown here, used luxurious silk textiles made in Lyon, France. The dress itself, in addition to already utilizing decorative textile, also adorned lace, ribbon, artificial flowers, and other ornaments were excessive but represented sophisticated spirits.

Dress (“robe à la française”)

1760

This is a typical Rococo period women’s dress, “robe à la française”. The ensemble shown here consists of a gown, the petticoat much like what we would call a skirt today, and a stomacher made in a triangular panel shape. The gown opens in the front, and has large pleats folded up at the back. All this would be worn after formed with a corset and pannier, which acted as underclothes. Until clothing accepted drastic changes with the 1789 French Revolution, rich outfits, such as is shown here, were worn.

During 18th century France, the court culture termed “Rococo” blossomed. The clothes of this period, like those shown here, used luxurious silk textiles made in Lyon, France. The dress itself, in addition to already utilizing decorative textile, also adorned lace, ribbon, artificial flowers, and other ornaments were excessive but represented sophisticated spirits.

#Robe à la Française #1760
Evening Dress 
1916
Lucy Christina Wallace
Dress characterized by pale colouring and delicate decoration. The skirt section is three-layered, with the front opening of the overskirt giving glimpses of a large number of decorations in tulle and lace patched together, with silk satin ribbons and flowers.
 As a result of World War I, fashion turned rapidly in the direction of simplicity. However, many women still longed for the decorative, traditional styles, providing a clientele for Lanvin and Lucile. This dress exudes that nostalgic feminine atmosphere, but the length is short enough to show the ankles, signalling the new age.

Evening Dress

1916

Lucy Christina Wallace

Dress characterized by pale colouring and delicate decoration. The skirt section is three-layered, with the front opening of the overskirt giving glimpses of a large number of decorations in tulle and lace patched together, with silk satin ribbons and flowers.

As a result of World War I, fashion turned rapidly in the direction of simplicity. However, many women still longed for the decorative, traditional styles, providing a clientele for Lanvin and Lucile. This dress exudes that nostalgic feminine atmosphere, but the length is short enough to show the ankles, signalling the new age.

#Evening Dress #1916 #Lucy Christina Wallace
Pendant in the Shape of a Knotted Dragon
3rd Century B.C.
A superb example of early Chinese jade carving, this pendant takes the form of a slender dragon whose serpentine body makes a graceful loop. Deep grooves cut into the body give it the appearance of a twisted rope as well as enhance the impression of power. The sinuous dragon, with its curving body and snarling jaws—a prevalent decorative motif in the late Eastern Zhou period—was inspired by the art of the West, which the nomads of the Eurasian steppes brought to their Chinese neighbors.

Pendant in the Shape of a Knotted Dragon

3rd Century B.C.

A superb example of early Chinese jade carving, this pendant takes the form of a slender dragon whose serpentine body makes a graceful loop. Deep grooves cut into the body give it the appearance of a twisted rope as well as enhance the impression of power. The sinuous dragon, with its curving body and snarling jaws—a prevalent decorative motif in the late Eastern Zhou period—was inspired by the art of the West, which the nomads of the Eurasian steppes brought to their Chinese neighbors.

#3rd Century B.C
Evening Dress 
Mme. Olympe 
1865
This is one of two extant dresses bearing a Mme. Olympe label. Olympe Boisse was a French-born New Orleans dressmaker who regularly traveled to Paris to keep abreast of trend-setting French fashions of the time.such as those by Charles Frederick Worth and Emile Pingat. Mme. Olympe, as she was professionally known, initially was an importer of French goods but in time designed and sold her own garments. Her claim to fame is that, considering the date of this dress, she was one of the first, if not the first, American dressmakers to label her gowns, a practice intiated by Worth et Bobergh in the early 1860s.

Evening Dress

Mme. Olympe

1865

This is one of two extant dresses bearing a Mme. Olympe label. Olympe Boisse was a French-born New Orleans dressmaker who regularly traveled to Paris to keep abreast of trend-setting French fashions of the time.such as those by Charles Frederick Worth and Emile Pingat. Mme. Olympe, as she was professionally known, initially was an importer of French goods but in time designed and sold her own garments. Her claim to fame is that, considering the date of this dress, she was one of the first, if not the first, American dressmakers to label her gowns, a practice intiated by Worth et Bobergh in the early 1860s.

#Evening Dress #Mme.Olympe #1865
Evening Ensemble (Detail)
House of Worth
1887
This is truly an attention getting gown with fantastical themes. The fantasy here is depicted in the bodice which imitates a peasant’s cotton blouse and is played against the traditional 18th century and neoclassical motifs in the skirt embroidery.

Evening Ensemble (Detail)

House of Worth

1887

This is truly an attention getting gown with fantastical themes. The fantasy here is depicted in the bodice which imitates a peasant’s cotton blouse and is played against the traditional 18th century and neoclassical motifs in the skirt embroidery.

#Evening Ensemble #House of Worth #1887
Left Evening dress:
Christian Dior 
1957
This dress was designed by Christian Dior (1905-57) in 1957, the year of his death. It was commissioned by the Baroness Alain de Rothschild to wear for the state visit of Queen Elizabeth II and Prince Philip to Paris in April 1957. Many grand events were held during the visit, such as dinners at the Louvre, Versailles and the Elysée Palace, and also visits to the opera and races.
Middle Evening Dress:
Balmain 
1957
Lady Gladwyn was the wife of the British Ambassador to Paris from 1954 to 1960. She hosted the state visit of Queen Elizabeth and Prince Philip at the Embassy in April 1957, and invited her great friend Diana Cooper to attend the dinner held at the British Embassy on Tuesday 9 April, at which this dress was probably worn. It was designed by Pierre Balmain (1914-82), and the bodice features the appliqué technique favoured by him.
Right Evening Dress:
Jacques Fath
1957
While the dress’s surface is a soft, delicate lace, in contrast the underpinnings are highly structured: its petticoat features a boned bodice and a crinoline skirt. The pale violet colour and two-tiered skirt suggest a romantic view of women’s fashion.

Left Evening dress:

Christian Dior 

1957

This dress was designed by Christian Dior (1905-57) in 1957, the year of his death. It was commissioned by the Baroness Alain de Rothschild to wear for the state visit of Queen Elizabeth II and Prince Philip to Paris in April 1957. Many grand events were held during the visit, such as dinners at the Louvre, Versailles and the Elysée Palace, and also visits to the opera and races.

Middle Evening Dress:

Balmain 

1957

Lady Gladwyn was the wife of the British Ambassador to Paris from 1954 to 1960. She hosted the state visit of Queen Elizabeth and Prince Philip at the Embassy in April 1957, and invited her great friend Diana Cooper to attend the dinner held at the British Embassy on Tuesday 9 April, at which this dress was probably worn. It was designed by Pierre Balmain (1914-82), and the bodice features the appliqué technique favoured by him.

Right Evening Dress:

Jacques Fath

1957

While the dress’s surface is a soft, delicate lace, in contrast the underpinnings are highly structured: its petticoat features a boned bodice and a crinoline skirt. The pale violet colour and two-tiered skirt suggest a romantic view of women’s fashion.

#Christian Dior #Balmain #Jacques Fath #1957
Ball Gown
Jacques Doucet
1898-1900
This ball gown is simplistic in design, yet extravagant by the choice of materials used. The sheer overlayer is enhanced by the solid lamé underlayers and a sense of luxury is added by the hidden lace flounce at the hem. Undoubtedly, a woman would make an entrance in this dress, as it is extremely seductive with its form fitting silhouette and low décolleté.

Ball Gown

Jacques Doucet

1898-1900

This ball gown is simplistic in design, yet extravagant by the choice of materials used. The sheer overlayer is enhanced by the solid lamé underlayers and a sense of luxury is added by the hidden lace flounce at the hem. Undoubtedly, a woman would make an entrance in this dress, as it is extremely seductive with its form fitting silhouette and low décolleté.

#Ball Gown #Jacques Doucet #1898-1900
Parasol (Detail)
1880 
The most prevalent type of parasol in the Brooklyn Museum Costume Collection is light colored taffeta overlaid with black lace. The parasol seen here is set apart from the rest by the charming configuration of the handle. Very unique, the ivory horse’s hoof is complete with studs at the bottom.

Parasol (Detail)

1880 

The most prevalent type of parasol in the Brooklyn Museum Costume Collection is light colored taffeta overlaid with black lace. The parasol seen here is set apart from the rest by the charming configuration of the handle. Very unique, the ivory horse’s hoof is complete with studs at the bottom.

#Parasol #1880
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