Table Of Contents m i t h s o n i a n
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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
In Detail: Short Tunic and Peplos 40–41
Smithsonian
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
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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.
