Thursday, November 24, 2011

1925-49 Part 3

Part 3

Influence of Hollywood

Because stars of the time were getting so much publicity, they became the new fashion icons. Films that were being produced had to use clothes that were timeless because of the bigger gap between filming and the actual release of the film. It became very obvious that Parisian couture dated too fast and therefore the couturiers were replaced by in-house costume specialists like Adrian at Metro-Goldwyn-Meyer and Edith Head at Paramount.

British Couture

In addition to American couture, British couture was also on the rise during the interwar years. When Norman Hartnell was apppointed dressmaker to the British Royal family in 1938, he had no idea that he was creating a style that would take the country by storm. His designs for Queen Elizabeth were romantic and tailored, inspiring other designers like Victor Steibel, Edward Molyneux, Digby Morton, and Hardy Amies to do the same.


Problems in Paris

in 1940, Paris was being occupied by the Nazis and the couture industry was threatened. Lucien Lelong, President of the Chambre Syndicale de la Haute Couture, alone kept it alive, even with reduced numbers of both houses and help. Fabrics were extremely low in supply, which caused designers to do several things. Some, like Chanel and Schiaparelli, decided to go abroad and retire. Others continued to develop their careers with what they could. Designers such as Jacques Fath, Cristobal Balenciaga, Pierre Balmain, and Christian Dior would each contribute to the re-establishment of Parisian couture during the 50s.

Alexandre Delfau, Winter outfits by Balenciaga, Plaire, Vol II, 1945.

Bernard Blossac, Original Illustration of an evening gown by Jaques Fath, 1949.

Bernard Blossac, Original Illustration of an evening gown by Jacques Fath, 1949.


Dior's New Look

Christian Dior's New Look, produced in 1947, provided the revival of fashion through his use of long forgotten femininity. Dior previously worked for Robert Piguet and Lucien LeLong and created his own house in 1946.

The New Look consisted of lavish fabrics, intricate designs, and curvaceous silhouettes, which were in severe contrast to England's rationing of all things fashion related. Almost ironically however, was the fact that Dior's New Look was ultimately a throwback to decades earlier when fashion was about being lavish, expensive, obvious, and glamorous, which symbolized a more care-free and cheerful time. Below are illustrations by artists of Dior.

Christian Berard, "Bar" from Dior's New Look, 1947.

Photograph of "Bar", 1947. Just to contrast the difference in feeling between the illustration and photograph.

Dior's favorite Illustrator, Rene Gruau's Origional Illustration of Christian Dior for cover of L'Officiel, October 1948.

Rene Gruau, Ensemble by Christian Dior, Femina, IV, 1949.

1 comment:

  1. Hi KSM, I've enjoyed your recent additions so much. As you wrote about the decades and eras of certain fashions, I felt like my life was flashing in front of me, fashion-wise! I'm sure I have books that chronicle the distinctive styles Adrian and Edith Head (and others) created for movies. Thanks again for this fascinating look back in time!

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