Suit for women and men 1900 1914. The history of fashion design. Chanel men's style

The last century is the time of crinolines, bustles, "polonaise", dolman, abundant ruffles and frills of all kinds. The next century, in the midst of the era of beauties (the beautiful era), is characterized by simplicity and common sense, and although the details are still meticulously worked out, the pretentious decoration of the dress and unnatural lines gradually fade into the background. This desire for simplicity became even stronger with the outbreak of the First World War, which clearly proclaimed the two main principles of women's dress - freedom and comfort of wearing.

A beautiful era - a time of luxury

In the 1900s, if you were a sophisticated young English lady who belonged to the elite of society, you were supposed to make a pilgrimage to Paris twice a year with other women of the same kind from New York or St. Petersburg.

In March and September, groups of women were seen attending studios at rue Halevy, la rue Auber, rue de la Paix, rue Taitbout and Place Vendôme.
In these often cramped shops, with seamstresses working feverishly in the back rooms, they met their personal salesperson, who helped them choose their wardrobe for the next season.

This woman was their ally and knew all the darkest secrets of their life, both personal and financial! The survival of these early fashion houses was entirely dependent on their powerful clients, and knowing their little secrets helped them to do so!

Armed with replicas of Les Modes, they scanned the latest creations of great couturiers such as Poiret, Worth, the Callot sisters, Jeanne Paquin, Madeleine Cheryuis and others to come up with a wardrobe that would outshine friends and foes alike!

Decades passed, and these horrible magazine images of static women, where every seam and every stitch is visible, were superseded by the looser and smoother Art Nouveau style, which used new photographic methods of imaging.

Together with the salesperson, the women chose a wardrobe for the next six months: lingerie, home clothes, walking dresses, alternating clothes, suits for traveling by train or in a car, evening dresses for leisure time, outfits for special occasions such as Ascot, wedding, visit to the theater. The list is endless, everything here depended on the size of your wallet!

Edwardian Lady's Wardrobe (1901-1910)

Let's start with the underwear. It consisted of several items of underwear - day and nightgowns, pantaloons, knee-highs and petticoats.

Women began their day by choosing a combination, then put on an s-shaped corset, over which there was a bodice.

Next came the daytime ensemble. These were usually formal morning clothes that could be worn when meeting friends or when shopping. As a rule, it consisted of a neat blouse and a wedge-shaped skirt; in cool weather, a jacket was worn on top.

Returning to lunch, it was necessary to quickly change into day clothes. In the summer, it was always some kind of colorful clothes of pastel colors.

By 5 o'clock in the evening, it was possible, which was done with relief, to take off the corset and put on a tea outfit to relax and receive friends.

By 8 o'clock in the evening, the woman was again pulled into a corset. Sometimes the underwear was changed to fresh. After that, it was the turn of an evening dress for home or, if necessary, for going out.

By 1910, such dresses began to undergo changes under the influence of the work of Paul Poiret, whose satin and silk dresses, inspired by oriental motives, became very popular among the elite. The big hit of 1910 in London was the ladies' trousers as a fancy dress evening gown!

During the day, it was also necessary to change stockings at least twice a day - cotton - for wearing during the day - in the evening they changed to beautiful embroidered silk stockings. It was not easy being an Edwardian woman!

Edwardian silhouette - myth and reality.

1900 - 1910

Until 1900 every high-society lady — with the help of her maid — was forced daily to pull herself into tight corsets that made it difficult to breathe, as her mother and grandmother did. It was very painful for a woman! Certainly, the sale of snuff was very lucrative in that era.

The purpose of the corset [if the illustrations are to be believed] was to push the upper body forward, like a pigeon, and to push the hips back. However, Marion McNealy, comparing the illustrations to photographs of women in the 1900s. in their daily lives, suggested in Foundations Revealed that the real purpose of s-shaped corsets was a defiantly straight posture, designed to emphasize the curves of the hips and chest by lifting the shoulders back, causing the chest to lift and the hips to be rounded.

My opinion on this issue is the following: there is a tendency, as in modern fashion illustrations, to over-emphasize lines. Comparing the 1905 picture of Lucille couture house above with Edward Sambourne's beautiful natural photo of a young woman from London proves that women did not tighten their corsets too much!

It was most likely an idealized version of the Edwardian woman of the time, popularized with illustrations by Charles Dana Gibson and postcards featuring Gibson's girlfriend Camilla Clifford, resulting in a highly exaggerated impression of Edwardian feminine form.

Fashion in dresses - 1900-1909

Women began to wear jackets in a strict style, long skirts [slightly raised hem], high-heeled ankle boots.
The silhouette gradually began to change from an s-shaped in 1901 to an Empire line by 1910. Typical colors for everyday clothes for an Edwardian woman were a combination of two colors: a light top and a dark bottom. The material is linen [for the poor], cotton [for the middle class] and silk and quality cotton [for the top class].

In terms of detail, in Belle Epoque, lace ruffles signaled a woman's social status. Numerous ruffles on the shoulders and bodice, as well as appliqués on skirts and dresses.

Despite the ban on corsets, women, especially from the new middle class, began to feel more social freedom. It has become quite normal for women to travel abroad on bicycles - for example, to the Alps or Italy, which is perfectly captured in the melodramatic film "A Room with a View", based on the book by E.M. Forster, which he published in 1908.

Popular casual wear consisted of a white or light-colored cotton blouse with a high collar and a dark wedge-shaped skirt starting under the bust and going down to the ankles. Some skirts were also sewn into the corset from the waist to under the bust. This style, a simple blouse and skirt, first appeared in the late 1890s.

Often there was a single seam on the skirts, as a result of which even the most hopeless figures acquired a pleasant harmony!

Skirts and dresses were sewn to the floor, but so that it was convenient for women to get into the carts. By 1910, the hem was shorter and ended just above the ankle. Initially, bulky shoulders were present in the silhouette of the blouses, but by 1914 they had significantly decreased in volume, which, in turn, led to more roundness of the hips.

By 1905, with the increasing popularity of automobiles, fashion-conscious women began wearing a raincoat or semi-long coat in the fall and winter. These coats were very fashionable, going from the shoulder to the waist, which was about 15 inches long. In such an outfit, and even in a new short skirt that did not even reach the ankles, the woman looked very bold! If it was damp or snowing outside, you could put on an anther on top to protect your clothes from dirt.

The afternoon dress, although it was made in various pastel shades and with numerous embroidery, was still quite conservative in the 1900s, as it was worn for attending formal dinners, meetings and conservative women's gatherings - here the dress code was influenced by women with a Victorian outlook on life!

The tea dresses, which women, if they were at home, usually donned by 5 pm, were excellent: they were usually made of cotton, white and very comfortable. This was the only time an Edwardian woman could take off her corset and breathe normally! Women often met and entertained friends in a dress for tea, because one could afford to be extremely informal!

In Edwardian Britain, women were given the opportunity to showcase their finest outfits from Paris during the London season, which ran from February to July. From Covent Garden, royal receptions and private balls and concerts, to horse races at Ascot, the elite of society showed off their latest, best and worst outfits.

Evening gowns during the Edwardian period were pretentious and provocative, with a plunging neckline that exposed a woman's breasts and jewelry! Evening dresses in the 1900s sewn from luxurious material. By 1910, women began to get tired of large evening dresses, especially French women who decided to abandon the trains on the dress and switched to the Empire style from Poiret, inspired by the Russian Seasons.

In 1909, when the Edwardian period was already coming to an end, a strange fashion arose for narrow skirts with interception below the knee, whose arrival is also attributed to Paul Poiret.

Such tight skirts tightly pulled the woman's knees, making movement difficult. Combined with the increasingly popular wide-brimmed hats (in some cases up to 3 feet in size) made popular by Lucille, Poiret's main American rival, it seemed that fashion had gone overboard by 1910.

Hairstyles and ladies' hats during the Edwardian period 1900-1918

Fashion magazines of that time began to pay great attention to hairstyles. The most popular were then considered curls, curled with tongs in the style of "Pompadour", as it was one of the fastest ways to style hair. In 1911, the 10-minute Pompadour hairstyle becomes the most popular!

These hairstyles carried surprisingly large hats that overshadowed the hairstyles to which they were pinned.

By 1910, Pompadour hairstyles had gradually changed to Low Pompadour, which, in turn, with the onset of the First World War, had evolved into simple low-set buns.

To take advantage of this hairstyle, hats began to be worn lower, right on the bun, wide brims and bright feathers of previous years were gone. Wartime norms did not approve of such things.

"Russian Seasons" 1909 - Wind of Changes

By 1900, Paris was the fashion capital of the world, and the fashion houses Worth, Callot Soeurs, Doucet and Paquin were among the top names. Haute couture or haute couture - this was the name of the company that uses the most expensive fabrics to sell them to the influential elite of Paris, London and New York. However, the style remained the same - Empire lines and Directory style - high waist and straight lines, pastel colors such as the greenish color of the Nile water, pale pink and sky blue, reminiscent of tea dresses and evening dresses of the elite of society.

It's time for a change. This was preceded by the following events: the influence of the Art Deco style, which emerged from the modernist movement; the onset of the Russian Seasons, first held in 1906 in the form of an exhibition organized by their founder Sergei Diaghilev, the phenomenal performances of the Russian Imperial Ballet in 1909 with their sumptuous oriental-inspired costumes designed by Leon Bakst.

The dancer Nijinsky's harem pants caused a huge surprise among women, and the master of opportunism Paul Poiret, having considered their potential, created the harem skirt, which for a while became very popular among young people from the British upper class. Poiret, perhaps influenced by the illustrations by Bakst in 1906, felt the need for more expressive illustrations for his creations, as a result of which he recruited the then unknown Art Nouveau illustrator Paul Iribot to illustrate his work "Dresses by Paul Poiret" in 1908. It is impossible to overestimate the influence that this work had on the emergence of fashion and art. After that, these two great masters worked together for two decades.

The emergence of modern fashion - 1912 - 1919

By 1912, the silhouette took on a more natural shape. Women began to wear long, straight corsets as the basis for tight-fitting daytime outfits.

Oddly enough, a brief return to the past in 1914 was just nostalgia: most of the fashion houses, including the house of Poiret, presented temporary stylish solutions with bustles, hoops and garters. However, the desire for change could no longer be stopped, and by 1915, in the midst of a raging bloody war in Europe, the Callot sisters present a completely new silhouette - a non-ringed women's shirt over a straight base.

Another interesting innovation in the early years of the war was the appearance of a matching blouse - the first step towards casual style, which was destined to become the main element of the women's suit.

Coco Chanel adored ladies' shirts or shirt-cut dresses and thanks to her love for the popular American jacket or sailor blouse [loose-fitting blouse tied with a belt] she adapted the jumpers worn by sailors in the popular seaside town of Deauville (where she opened a new store), and created the women's cardigan with bold everyday belts and pockets that foreshadowed the 1920s fashion image 5 years before it became the norm.

Like Chanel, another designer Jeanne Lanvin, who at this time specialized in clothing for young women, also liked the simplicity of the chemise and set about creating summer dresses for her clients that heralded a move away from restrictive dresses.

The outbreak of the First World War in 1914 did not end the international displays of Parisian collections. But despite attempts by Vogue editor Edna Woolman Chase to organize charity events to help the French fashion industry, Paris was justifiably concerned that America, being a competitor to Paris, intended to capitalize on the situation in one way or another. If you are fortunate enough to have trendy French vintage periodicals of the time, such as Les Modes and La Petit Echo de la Mode, note that there is rarely any mention of war in them.

Nevertheless, war was raging everywhere, and women's dresses, as in the 1940s, became more military by necessity.

Clothing became sensible - jackets of strict lines, even warm half-coats and trousers acquired special female outlines if they were worn by women who helped in the war. In Britain, women have joined volunteer medical teams and served in the army's nursing service. In the United States, there was a reserve of female auxiliary personnel of the MP, as well as special women's battalions.

Such military groups were intended for women of the upper class, while women from the working class in various countries, especially in Germany, worked in military factories. As a result of such a shake-up of social classes, when the poor and the rich, men and women all together, like never before, has grown such a phenomenon as emancipation in a woman's dress.

1915 - 1919 - New silhouette.

It was the time of the Art Nouveau figure

Now the emphasis in women's underwear was not on shaping the female figure, but on her support. The traditional corset has evolved into a bra that is now indispensable for the more physically active woman. The first modern bra came from Mary Phelps Jacob, a creation she patented in 1914.

The traditional bodice was replaced by the fashion for a high waist, tied with a beautiful wide scarf belt. Fabrics such as natural silk, linen, cotton and wool were used, and artificial silk was also used - twill, gabardine (wool), organza (silk) and chiffon (cotton, silk or viscose). Thanks to young designers like Coco Chanel, materials such as jersey and denim have come to life.

In 1910. there was a horizontal look at the design of dresses. Alternatively, vertical capes were used, such as the popular Poiret kimono jackets, which were worn over a set of jacket and tailored skirts. The hem of the casual wear was slightly above the ankle; the traditional floor-length evening dress began to rise slightly from 1910.

By 1915, along with the appearance of a flared skirt (also known as a military crinoline), a reduction in the length of clothing, and, consequently, with the appearance of now visible shoes, a new silhouette began to appear. Lace-up shoes with heels have become a nice addition to models for the winter - beige and white colors have joined the usual black and brown colors! With the development of hostilities, evening dresses and clothes for tea began to disappear from the collections.

Annette Kellerman - the swimsuit revolution

Swimsuit designs from the Edwardian period led to the overthrow of public mores when women on the beach began to show off their legs, albeit wearing stockings.

Aside from the Australians, especially Australian swimmer Annette Kellerman, who in some way revolutionized swimwear, it should be noted that swimwear changed gradually from 1900 to 1920.

Kellerman caused quite a stir when, upon arrival in the United States, she appeared on the beach in a tight-fitting swimsuit, as a result of which she was arrested in Massachusetts for indecent nudity. Her trial marked a turning point in swimwear history, and also helped to break the outdated regulations that led to her imprisonment. She created the look for the beauties in swimwear from Max Sennett, as well as the standards for sexy swimwear from Jantzen that came later.

The birth of the Charleston dress look

It is difficult to pinpoint exactly when the low-waisted tomboy dress style emerged and became the norm by 1920. The image of mother and daughter created by Jeanne Lanvin in 1914 attracts attention here.

Take a close look at your daughter's little hipster rectangular dress and you will recognize the Charleston dress that will dominate just a few years later!

Black was the standard color during World War I, and petite Coco Chanel decided to make the most of it and other neutral colors, as well as wartime clothing, and thanks to Chanel's love of simplicity, a shirt dress with a belt at a low waist was created. , whose models were shown at the Harpers Bazaar in 1916.

This love of her more sporty and casual dresses began to spread quickly from the seaside town of Deauville, where she opened a shop, to Paris, London and beyond. In the 1917 edition of Harper's Bazaar, it was noticed that the name Chanel simply did not leave the lips of buyers.

Paul Poiret's star began to fade with the onset of the war, and when he returned in 1919 with numerous beautiful models in a new silhouette, his name was no longer so admirable. Accidentally bumping into Chanel in Paris in 1920, he asked her:

"Madam, for whom do you mourn?" Chanel wore her signature black colors. She replied: "For you, my dear Poiret!"

New way of life

Soviet fashion formed and stepped forward on its own special route. It was created by talented professionals who survived the years of devastation and bloody terror, and was corrected and directed by party officials and state security officials. consisted of the skill of the tailors of the last century and the innovative ideas of the artists of the young country of the Soviets, from the models of clothes created by specialists grown by Soviet universities, from mass clothes produced by numerous garment factories, from Soviet fashion magazines, from the fashion magazines of the fraternal socialist republics and bourgeois Western editions that enter the USSR legally from behind the “Iron Curtain”, from the stories of people who have traveled abroad, from the copying by domestic craftswomen of the clothes that they brought “from there”, from imitation images of Soviet and foreign cinema.

The October socialist revolution, which abolished the classes of the nobility and the bourgeoisie and established a new social composition of society, inevitably influenced the formation of the fashion of the Soviet country, which no longer had room for luxurious toilets. The working people of the young country of Soviets had to look like they should be the builder of a new society, although no one knew exactly how, and everyone who was destined to survive the October coup simply had to adapt to the harsh features of military and civil labor and life of the first post-revolutionary years.

On the city streets appeared men and women in leather commissar jackets, leather caps and soldier's tunics, belted with leather belts. Satin blouses worn with city blazers have become the most popular men's clothing. Women wore dresses made of canvas, straight skirts of their soldier's cloth, chintz blouses and cloth jackets. The men's tunic, which migrated to the women's wardrobe, emphasized the equality between Soviet women and Soviet men.

The iconic clothing of the new era is a leather jacket associated with the images of the Chekist and the commissar, which has become a symbol of the revolutionary fashion of Soviet Russia, rather strange clothes for a country in dire devastation. Where did so much high-quality leather come from in the first years of Soviet power, who made so many of the same type of jackets in such quantities? In fact, the famous leather jackets were made even before the revolution, during the First World War, for the aviation battalions. At that time, they were never fully in demand, and after the October coup, they showed up in warehouses and began to be issued to the Chekists and commissars as uniforms.

A sign of the new post-revolutionary era was the red kerchief - a symbol of the woman's liberation, now it was pulled over the forehead and tied at the back of the head, and not under the chin, as was traditionally done before. Shoes, men's and women's, were boots, boots, canvas slippers, rubber boots.

Komsomol members put on "Jungsturmovki" - paramilitary clothing borrowed from the German youth communist organization "Red Jungsturm", which was a tunic or jacket of various shades of green, with a turn-down collar and patch pockets, worn with a belt and harness, and a cap on the head. The girls wore jungsturmovki with a straight dark skirt. On the basis of the jungsturmovka, a uniform uniform for the Komsomol members was developed. As the newspaper Krasnaya Zvezda wrote: “The Central Committee of the Komsomol recommends that local organizations introduce a single form of the Komsomol through voluntariness. For a sample should be taken the form of the Moscow Komsomol - khaki (dark green). The Central Committee considers it desirable to introduce this form in all city organizations by the 14th International Youth Day. "

The asceticism of the proletarian costume in 1918-1921 was due not only to a worldview that denied everything that was associated with the "old world", but also to the most difficult economic conditions, devastation, civil war that followed the revolution and the brutal policy of war communism. People simply died of hunger, did not have the opportunity to get basic hygiene products and household items, what kind of fashion could we talk about. There were clothes that personified a harsh and ruthless time.

Things were sewn from canvas, coarse linen, coarse calico, soldier's cloth, tales, bumazeye, coarse wool. Starting from 1921 - 1922, when the transition to the New Economic Policy (NEP) was announced in the country and the process of restoring textile and garment enterprises began, the first fabrics with a printed pattern appeared, mainly cotton - chintz, satin, flannel.

One of the first mass costumes was the Red Army uniform. In 1918, a special commission was created to develop the uniform of the Red Army, and a competition was announced for the best samples of military clothing, in which such artists as Viktor Vasnetsov and Boris Kustodiev took part. The Russian historical costume was taken as the basis for the Red Army uniform. A year later, a helmet, an overcoat, a shirt, and leather bast shoes were approved as a new form. Decorating with buttonholes, typical for old samples of military uniforms, coexisted with red cuffs, collars and a star on the helmet, which repeated the old Russian form of a sholoma with a barmitsa, thereby emphasizing the heroism and romance of the image. The new Red Army helmet, which was soon dubbed Budenovka, existed until the beginning of World War II.

The terrible, bloody collapse of the old world and the painful construction of a new one, it would seem, should have doomed such a phenomenon as fashion... Why and who needs it in the Soviet country? But in spite of everything 20s The 20th century has become one of the most interesting periods in the history of Russian fashion.

In tsarist Russia at the end of the 19th century, Moscow, St. Petersburg, Kiev, Nizhny Novgorod, Kazan were in the first place in the production of ready-made dresses. The clothes were mainly produced by artisan workers from small workshops. There were few large sewing enterprises. Basically, they carried out government orders, producing uniforms, equipment and underwear for military and engineering units. But, in addition, many manufacturers of state-owned sewing products were the owners of well-known stores of ready-to-wear, footwear and haberdashery.
The largest sewing factories in Russia were: partnership "Mandl and Reitz", which had, in addition to the factory, a ready-to-wear trading house on Tverskaya (after the nationalization of the enterprise - factory number 31 of the Mosshvey trust, then the Experimental and Technical Factory named after K. Zetkin, and in 1930 TsNIISHP - the Central Research Institute of the Garment Industry, existing to this day); "Trading house K. Thiel and Co", which united a tannery and a varnishing plant, a military saddlery, ammunition and uniform, felt, glove, hosiery, factories, which after bankruptcy in 1912 passed to the Moscow Joint Stock Company "Supplier" (nationalized in 1918 and renamed "Red Supplier", then which became the Moscow Factory of Technical Felt and the Moscow Felting and Felting Association (now ZAO Gorizont); "Partnership of Timofey Katsepov and Sons Manufactories"- an industrial enterprise with a solid cash turnover, since 1930 it has been redesigned into the Voskresensk felt factory named after January 9 (modern OJSC "Felt").
Major companies of ready-to-wear dresses and lingerie were: trading house "M. and I. Mandl ", trading house "Brothers N. and F. Petukhovs" on Ilyinka; the legendary trade and industrial partnership "Muir and Meriliz", owned one of the most famous department stores in Moscow on Petrovka, selling clothes, footwear, jewelry, perfumes, household items (nationalized in 1918, since 1922 Central Department Store TSUM); Petrovsky Passage, located between Petrovka and Neglinnaya streets, belonged to Vera Ivanovna Firsanova, the successor of the famous Moscowof the Firsanov merchant dynasty. The passage has gathered under its vaults more than fifty different trade pavilions, including shops of famous trade houses: “Markushevich and Grigoriev. Silk and woolen fabrics ", "Vikula Morozov, Konshin and Sons", "Veselkov and Tashin - fashionable materials for ladies' dresses ", "Louis Kreutzer" - underwear and ties ", "Matilda Barish - corsets and umbrellas" etc. Major trade centers were Popov Passage on Kuznetsky Most, Postnikov Passage on Tverskaya Street, Lubyansky Passage on Lubyanka, the Sapozhnikov brothers' silk goods store on Ilyinka, trading houses of Ludwig Knop, K. Malyutin and his sons and many others. One of the most successful lingerie companies there was a firm "Brothers Alshwang", and a trading house on Nikolskaya Street "Kandyrin and Co", which owned a factory of linen. Famous shops of men's dress in pre-revolutionary Moscow - "Aye" on Tverskaya, "Brothers Alekseevs" on Rozhdestvenka, "Brothers Chistyakov" on Lubyanskaya Square, "Dellos" on Sretenka, "Georges" on Tverskaya, "Duchar", "Smith and Sons" on the Kuznetsky Most. Fashionable women's clothing was produced and sold by the City of Lyon at Lubyanka, Louis Kreutzer and Madame Josephine at Petrovka, and others.
Many Russian fabric manufacturers were famous not only in their own country, but also gained worldwide popularity. Particularly successful productions were Trekhgornaya Manufactory, founded by the merchant Vasily Prokhorov, hence its other name - Prokhorovskaya (after the revolution it was nationalized, in 1936 it was named after F.E.Dzerzhinsky); Ivanovo-Voznesensk manufactories of the Grachevs, Garelin, Ivan Yamanovsky, Diodor Burylin and others. The famous cotton-printing manufactory "Emil Tsindel in Moscow" operated until 1915. In Soviet times, this enterprise became known as the "First Cotton Printing Factory". The largest textile enterprises were Morozovskie manufactories. The largest Morozov enterprise is the Nikolskaya Manufactory in Orekhovo-Zuevo. Well-known manufactories of that time - factories of Albert Gübner, Mikhail Titov, Thornton's factory in St. Petersburg, Krushe and Ender, Mikhailov and Son, P. Malyutin and Sons, etc. time the office of Baron Ludwig I. Knop. His main activity as a representative of the British firm De Jersey was the supply of modern textile equipment to Russia from Germany, France and England. The products of Russian manufactories were exported and appreciated all over the world. In pre-revolutionary Russia, wearing a ready-made dress was considered the lot of people with limited means, the rich preferred to order clothes. Home sewing was a long-standing and venerable tradition in the Russian empire and was considered an important element of women's education.
Graduates of sewing and sewing schools and needlework classes received certificates that gave them the right to work as cutters, open private schools and sewing courses. After graduating from the school of cutting and sewing O. Saburova, a young cutter Nadia Lamanova, who later became the most famous dressmaker in tsarist Russia, came to work in one of these sewing workshops of the then popular Moscow milliner Madame Voitkevich. Outstanding services in the field of fashion design made Lamanova the number one figure in the history of Russian fashion design. Nadezhda Lamanova laid the foundations for Soviet modeling. The motto of creativity of fashion designers today is the famous formula of Lamanova - purpose, image, fabric.
In 1885 Lamanova opened her workshop in Adelheim's house on B. Dmitrovka. Legendary Nadezhda Lamanova, the supplier of the Imperial Court before the revolution "dressed" the royal family, aristocratic and artistic elite. After the revolution, she not only designed models for the wives of high-ranking officials, but also created mass fashion. She made costumes for films by Eisenstein and Aleksandrov, for many Soviet theatrical performances. Her clients were Vera Kholodnaya, Maria Ermolova, Olga Knipper-Chekhova. The great French couturier Paul Poiret arranged his fashion shows in her house. After the revolution, models Lamanova, who continued to work as a Soviet fashion designer, won prizes at international exhibitions, clothes from Lamanova were demonstrated - the muse of Vladimir Mayakovsky Lilya Brik, her younger sister, the French writer Elsa Triolet, actress Alexandra Khokhlova. Pre-revolutionary Russia could boast of an abundance of fashion houses, ateliers and workshops... In St. Petersburg alone in the 1900s, there were more than 120 of them. The famous fashion house in St. Petersburg was the House of Brizak, which was the Supplier of the Court and worked only for the imperial family, serving the grand duchesses and court ladies-in-waiting. By the highest order of the Empress, House Brizak could serve two clients who did not belong to the court - the ballerinas Anna Pavlova and the singer Anastasia Vyaltseva.
Another large Petersburg fashion house of the 1900s was House of Hindus... Anna Grigorievna Hindus studied in Paris at the firm of the famous French fashion designer Mrs. Paquin, with whom she kept in touch.

The third major fashion house was House of Olga Buldenkova who was also a supplier to the Imperial Court. Her field of activity was special uniforms, regulated by the Charter of the Court, approved by a special imperial decree back in the 1830s.

Except for large houses fashion more than a hundred small fashion houses and ateliers worked, which both carried out individual orders and produced serial collections. But none of the Russian houses held fashion shows. In 1911 Paul Poiret brought his collection to St. Petersburg. And the first fashion show took place in St. Petersburg in 1916.

The onset of a new era has largely changed both the costume itself and the attitude towards fashion. In the second decade of the twentieth century, after the First World War, a simplification of the costume and a transition to the mass industrial production of clothing was observed all over the world, the beginning of which was largely associated with the excellent production of military uniforms. However, in Soviet Russia, the role of socialist ideology was superimposed on this world trend.

The garment industry, destroyed during the October Revolution, like all other industries, began to build up anew. In 1917, the Department of ready-made dresses and linen was created under Tsentrotextile "... for the restoration, unification and nationalization of the production and distribution of ready-made clothes and linen on a nationwide scale." In 1919, the Central Institute of the Garment Industry and the Training Artistic and Industrial Costume Workshops were established, whose tasks included the centralization of sewing production, research and training, as well as the establishment of hygienic and artistic forms of clothing.
In 1920, the legendary Higher Artistic and Technical Workshops VKHUTEMAS (from 1927 reorganized into VKHUTEIN) were organized, which existed until 1932, and gave the Soviet country remarkable masters of industrial design, many of whom left their mark on the development of fashion. In the first years of Soviet power, the Committee of the Garment Industry - Tsentroshvey was created, and in April 1920, after merging with the central department of military supplies, it was renamed into the Main Committee of the Garment Industry (Glavodezhda).
To manage the enterprises, territorial trusts were organized in Moscow (the famous Moskvoshvey), Leningrad, Minsk, Baku and other cities. The machine park began to be replenished with new imported machines, electric knives, and steam presses. Factories switched to a wider division of labor, and by the end of the recovery period, in 1925, a gradual transition to the production line organization began, sharply increasing productivity in comparison with individual tailoring. But, as you know, quantity is not necessarily quality and individuality.
By the 30s, the range of clothing that was produced in the country became better and more diverse. Soviet sewing factories, which previously worked mainly for the army and produced overalls, instead of greatcoats, riding breeches and quilted jackets, began to sew women's and men's suits, light dresses, coats and short coats from various fabrics, underwear of all kinds, children's clothing. In connection with the requirements of consumers, the Moskvoshvey trust introduced the acceptance of individual orders.
One of the brightest periods of the new Soviet fashion were the 20s. At the art-production subdivision of the fine arts of the People's Commissariat for Education, "Workshops of modern costume" were opened. It was the first creative experimental laboratory of new forms of clothing in the Soviet Republic. Nadezhda Lamanova turned to the Minister of Culture Lunacharsky (his wife, Maly Theater actress Natalya Rosenel knew Lamanova's abilities very well) with a proposal to create a modern costume workshop. Lamanova was faced with the task of creating a workers 'and peasants' fashion, and she was forced to show colossal ingenuity using cheap, simple and crude materials, given the post-revolutionary devastation.

In 1923, the "Center for the Formation of a New Soviet Costume" was created, later renamed "Atelier Fashion", the official director of which was Olga Senicheva-Kashchenko. In one interview, Olga Senicheva told how in “Moskvoshvei” she, a sixteen-year-old girl, was given the documents for a loan, and she made a commitment to pay the costs of “Atelier Fashion” - renovation of the premises within a year and a half (at Petrovka, 12, now the Art Salon) and fabrics obtained for the work. New center fashion gave confiscated materials from warehouses whose owners fled abroad during the revolution. Brocade, velvet and silk were at the disposal of the atelier. The fine fabrics stored in damp warehouses were badly damaged, so they decided to use some of them on the curtains and upholstery in the hall where it was planned to hold a demonstration of clothing models. First, in order to return all the money to the state on credit, in the first Soviet "Fashion Atelier" they began to create models not from chintz and linen, but from brocade and velvet for the Nepmen, so that later they could develop mass fashion and create models of clothing for workers. Party elite, celebrities and light industry leaders were invited to the first fashion shows.

• Together with Nadezhda Lamanova, who headed the creative work, such outstanding artists as Vera Mukhina, Aleksandra Ekster, Nadezhda Makarova (Lamanova's niece), specialist in applied arts Evgenia Pribylskaya worked in the experimental Atelier Fashion. At the same time, one issue of the Atelier magazine was published , in the work on which many famous artists took part.

• In 1923, at the 1st All-Russian Art and Industry Exhibition, samples of models developed in the Fashion Atelier by N. Lamanova, E. Pribylskaya, A. Exter, V. Mukhina were awarded prizes.

• Models of Nadezhda Lamanova and Vera Mukhina, exhibited at the World Exhibition in Paris in 1925, received the Grand Prix for their national originality combined with modern fashion trends. Each dress model was necessarily complemented by a headdress, a bag, ornaments made of twine, cord, straw, embroidered canvas, shell and pebble beads.

The experimental studio did not succeed in fulfilling its main mission of creating samples of clothes for mass production, as well as fulfilling individual orders for the people, since it existed for only a few years. One of the largest government orders in 1923 was the development of a dress uniform for the Red Army. In order to make money, the atelier operated as an expensive custom tailoring workshop aimed at actresses for whom special discounts were provided and wealthy people. Ten designers and ten artists worked on the creation of the models. Models were sewn by one hundred and fifty workers of the 26th factory of the Moskvoshvey trust. On average, one dress was sewn for twenty days, and only the work of the masters cost one hundred rubles for each model. It was so expensive that even two years after the opening, many of the dresses were still not sold out.

In 1923, the first Soviet domestic fashion magazine Atelier, created by the innovative Atelier Mod. The main goals and objectives were set out in the editorial article: "An active and tireless striving to identify everything that is creatively beautiful, that deserves the most attention in the field of material culture." The grandeur of the idea was determined by only one list of star names who gave their consent to cooperation in the magazine. Celebrities include artists Yuri Annenkov, Boris Kustodiev, Kuzma Petrov-Vodkin, Alexander Golovin, Konstantin Somov, Igor Grabar, sculptor Vera Mukhina, poet Anna Akhmatova, art historian Nikolai Punin and many others. The magazine was illustrated with inserts of colored drawings.

The names of the artists began to appear on the pages fashion magazines back in the 1900-1910s, when the art of fashion illustration was in its prime. In 1908, an artistic production began to appear in Moscow. fashion magazine, handicrafts, economy "Parisienne" with a frontispiece by artist Mstislav Dobuzhinsky. The cover of the new edition was specially commissioned by Konstantin Somov, but for technical reasons the magazine began to appear in a new cover only in 1909. The cover for the men's fashion magazine "Dandy" was made by Viktor Zamirailo, and the drawings of the models in it were created by the famous St. Petersburg graphic artists Alexander Depaldo and Alexander Arnshtam. The artist Anna Ostroumova-Lebedeva also proposed to publish the "Ladies' Journal". In 1915, the famous Petersburg dressmaker Anna Hindus tried to implement such plans. At the same time, the architect Ivan Fomin was planning to publish a magazine of a beautiful life called "The Mirror". These plans, and even then only in part, were destined to be realized only in the 1920s.

First Soviet fashion magazine had to pay close attention to "detailed elaboration of questions about the new women's costume", as well as reflect "all the varied creative work of Atelier Maud", and, in addition, to acquaint readers with news in the field of art, theater and sports.

The magazine published an article by the artist Alexandra Exter "About constructive clothing", reflecting the main direction of the development of modeling at that time - simplicity and functionality. “When choosing a form of clothing,” the author wrote, “one should take into account the natural proportions of the figure; with the correct design of clothing, it is possible to achieve its conformity to the shapes and sizes of the body. Work clothes must provide freedom of movement, so they cannot be tight. One of the main requirements for such a suit is ease of use. " Exter paid special attention to the selection of fabrics, suggesting that when designing a particular form of suit, proceed from the plastic properties of the material. So, in her opinion, when creating models from wool of rough processing, vertical folds are inappropriate, and soft wool of a large width, on the contrary, will create a complex volumetric silhouette. Exter designed a sophisticated multi-functional set, reminiscent of a Japanese kimono, from a variety of materials in contrasting colors. Another set for indoor and outdoor use consisted of a shirt-cut top and bottom dress with side slits, trimmed with appliqué. The cover of the Atelier magazine was adorned with a sketch created by Alexandra Exter, an elongated silhouette of a model in a street cape made of light blue silk-taffeta, without seams, with an enlarged collar. A small tight-fitting hat with a pompom is worn on her head.

The first issue of "Atelier" also contained the famous sketch of a flower-bud dress by Vera Mukhina. The renowned sculptor was presented here as a fashion designer. The dress she proposed was classified as "pop". The lush draperies of the white fabric skirt resembled flower petals. A graceful female silhouette in a wide-brimmed red hat, with a cane in her hand, was a memory of Rococo, combined with Suprematist motives.

The pages of the first issue of "Atelier" contained a large number of photographs of Moscow actresses and models in luxurious toilets, not inferior to French outfits. The photographs in the magazine show that the collection of 1922-1923, despite the difficulties of the economic order, was made of expensive fabrics. Literary and journalistic reflections on modern fashion The director and playwright Nikolai Evreinov ("The Look of a Parisienne 1923"), Russian philanthropist, Vladimir von Meck, who worked after the revolution on the creation of sketches of scenery and costumes in the Maly Theater, ("Costume and Revolution"), M. Yurievskaya (" About the influence of dance on fashion ").

As an addition to Yuryevskaya's article, the Atelier artists proposed a model of a “pop dress for eccentric dances” made of black velvet and taffeta with a long trench (“tail”). The waist is intercepted with a wide belt of orange fur, on the shoulder there is an orange interception ribbon in the tone of the fur, a headdress of black silk with standing peacock feathers.

The Atelier magazine came out with a circulation of 2,000 and was a great success. As the executive editor Olga Senicheva wrote: “The readers have missed the artistic, beautifully designed publications. Coated paper, good printing, color illustrations and, perhaps most importantly: an unusual topic for that time - fashion"Attracted many and sold out quickly." Great interest was aroused by the fact that at the end of the issue was given "Review of fashion trends from foreign magazines." However, the first number fashion magazine turned out to be the last. In the magazine "Shveinik" there was an article "How not to paint", in which all the activities of "Atelier" were subjected to the most severe criticism. In 1925, economic difficulties were added to the ideological accusations, and the first Soviet fashion house underwent drastic changes. A new director was appointed, the staff was reduced, and the famous Moscow "Fashion Atelier" turned into an ordinary nomenklatura fashion workshop that sewn for party wives and celebrities.

The idea of ​​a fashion magazine with the participation of artists and writers, and the involvement of painters and graphic artists in the development of clothing models, was brought to life for some time. Fashion publications that appeared during the NEP era called on the masters of the brush and pen to speak out on the formation of modern fashion.

In 1928 began to appear fashion magazine "The Art of Dressing" , the new edition was not only fashionable, but also "cultural and educational" with a number of interesting headings: "Paris Letters" - (messages from a correspondent from Paris about fashion trends), "Curiosities of fashion", "The past of the costume". There was a section "Useful tips" in the magazine, where one could find out: "How to clean kid gloves", "How to wash thin laces", "How to update black laces and veils", etc., in addition, it published articles by leading fashion designers, hygienists, advertising of goods. In the magazine one could see new developments of clothing designers M. Orlova, N. Orshanskaya, O. Anisimova, E. Yakunina. The first issue of the fashion magazine was opened by Lunacharsky's article "Is it Time for a Worker to Think About the Art of Dressing?" Ordinary citizens were also involved in the discussion and could express their views. “Our proletarian artists, with the help of the masses, need to start creating new fashions,“ their own ”, not“ Parisian ”ones. Party and Komsomol meetings will help them in this, ”said the Muscovite comrade. Yukhanov in his letter to Komsomolskaya Pravda. In the same year 1928, the "Home Dressmaker" appears - a traditional fashion magazine with drawings of models of clothes and explanations to them, patterns and advice for dressmakers. Both magazines were published on good large-format paper, with color printing and with patterns attached.

• In 1929, a new magazine "Garment Industry" was published, which wrote about the problems of mass industrial production of clothing. The stage of the country's industrialization began. In the same years, sewing technical schools, FZU schools, sewing faculties at textile enterprises, which train specialists for the light industry, were opened.

• In addition, in the 20s appeared - "Fashion magazine", "Fashion season", "Fashion world", "Fashion", "Models of the season", "Four seasons", "Fashion Bulletin", "Women's magazine" and so on. some fashion magazines was short, and they were closed for "lack of ideology", and some existed for many years.

In 1932, the Soviet publishing house "Gizlegprom" was opened under the USSR People's Commissariat of Light Industry, publishing literature on the subject of light, textile and local industries and consumer services, publishing magazines with models of fashionable clothes. Many garment factories in the 30s began to publish their own fashion magazines... Clothing models were published in women's magazines such as "Rabotnitsa", "Krestyanka" and others.

One of the main themes for Soviet design in the 1920s and 1930s was the theme of "industrial costume". It was at this time that such a concept as overalls (industrial clothing) appeared. Artists of the 1920s offered various options for production suits for surgeons, pilots, firefighters, builders, and salespeople. The founder of the Soviet poster, Latvian artist Gustav Klutsis, designed a miner's suit with a lamp on his helmet and a signal belt, where there was a complex keyboard of buttons. Clothes became, as it were, a human microenvironment. The raw materials for the first models of the Soviet costume were all the same - canvas, linen, calico, chintz, cloth, bike, bumazeye, coarse wool.
Own costume theory, excluding any fashion, tried to develop the masters and ideologists of the Moscow INHUK: Varvara Stepanova, Boris Arvatov, Alexander Rodchenko, Alexey Gan, etc. INHUK - Institute of Artistic Culture (existed from 1920 to 1924) - a research organization in the field of art and a creative association of painters, graphic artists , sculptors, architects, art critics, organized in Moscow in March 1920 at the department of the People's Commissariat for Education, was a kind of discussion club and theoretical center.
The first Soviet fashion designers, including Nadezhda Lamanova, and avant-garde artists working in such areas as constructivism and Suprematism - Alexander Rodchenko, Varvara Stepanova, Alexandra Exter, Viktor Tatlin, Kazemir Malevich were engaged in the development of overalls for various types of industries. They saw the main task in "creating clothing forms that were not built on the traditions of fashion." Fashion was to be replaced by simplicity, convenience, hygiene and "socio-technical expediency."
New artistic ideas at this time began to easily and organically penetrate the world of fashion. A bright and strange futuristic costume found its fans among young people; "Suprematist" ornaments on sweaters and scarves knitted by the artist Kazemir Malevich's mother were in demand, as did Lamanova's sketches for fashionable silk toilets in the style of Cubism or Suprematism. The main method of designing functional clothing was to identify the structure: exposure of the cut structure, the construction of fasteners, pockets. The professional identity of the suit was revealed through its design and specific technical devices. The suit became a professional tool for work. Innovative artists deliberately abandoned the use of decorative ornaments, believing that the very technology of mass production of clothing has undiscovered artistic potential.
Textile artists create new patterns along with the preservation of traditional floral designs. The remarkable constructivist designer Varvara Stepanova was actively involved in the development of designs for fabrics and modeling a new type of clothing for citizens of a socialist state. In 1923-1924 she, together with another bright and talented avant-garde artist Lyubov Popova, worked at the First Moscow Calico Factory, where her fabric models were repeatedly produced. Stepanova dreamed of creating fabrics with new physical properties based on the patterns of weaving threads, organically combined with graphic patterns. She studied the issues of consumer demand for fabrics and clothing, emphasizing that in the USSR, for the first time in world history, social differences in costume were eliminated, and believed that modernity urgently requires a new concept of clothing for workers - massive, but at the same time, diverse.

In the 1920s, there were many discussions about the reorganization of the life of the Soviet person. In 1928, polemical articles on this topic appeared regularly on the pages of newspapers. It was discussed what houses and apartments the workers need, what furniture should be, what the interior of a Soviet person should be decorated with, whether there is an alternative to lace napkins, porcelain figurines, elephants and other attributes of bourgeois life. An important place in this discussion was occupied by the question, what should be the costume of a Komsomol member and a communist? The problem of the formation of the Soviet style fashion was one of the central ones. For example, in "Komsomolskaya Pravda" one could read the following reasoning on the topic: "there is a pronounced need to oppose samples of the" best clothes "from the shops on Petrovka and Kuznetsky Most with some of their own, Soviet," Komsomol "fashion." The theatrical world was also involved in controversy, on the stages of theaters one could see experimental projects of everyday and work clothes, furniture, rationally equipped dwellings of a Soviet person.

Soon, due to constant criticism of artists who were not doing their own thing, their gradual removal from the art of costume began. The Moscow House of Models, which opened in 1934, finally made artistic costume design a completely independent activity. A new generation of artists has appeared, for whom the creation of fashionable clothes has become a profession. The period of the beautiful utopia of the formation of a new way of life is over, the art of costume has passed from idyllic artists to the practical hands of fashion designers.

In the era of war communism, when there was literally a shortage of literally the whole word "overalls" meant not only comfortable clothes for professional needs. Under "overalls" was also understood a part of the so-called payment in kind, half of which was given out in food and half in things. It was impossible to satisfy the need for shoes and clothes of all comers, which caused serious conflicts in society. For example, in Petrograd at the end of the winter of 1921, at many factories and plants, not only employees, but also persons under 18 years of age were excluded from the lists of applicants for overall clothing. Because of this, "bagpipes" began to appear - special forms of strikes. To resolve the conflict, those in need were given one sheet, one towel and one pair of boots for three. Overalls were distributed according to the principle of "class ration". The workers and the party and Soviet nomenklatura were considered the privileged class. In the diaries of contemporaries one could read the following entries: “Our brother cannot even think about a new couple. Shoes are only distributed to communists and sailors. "
At one of the Chelyabinsk mines in 1922, the administration exchanged boots for the miners for bast shoes. The employees of the administration themselves dressed up in boots. Olga Senicheva recalled in what clothes she came to work at the Fashion Atelier, she was wearing cloth shoes with rope soles and a thin coat made of homespun canvas, which she received as a gift as a participant in the III Congress of the Comintern, where she organized an exhibition of the general and the handicraft industry for delegates. The writer Vera Ketlinskaya recalled: "In everyday life I had one skirt and two flannel blouses - you wash, iron and put on in turn, both at the institute, and at a party, at home and at the theater." Nadezhda Mandelstam, a writer, wife of the poet Osip Mandelstam, wrote: "Women, married and secretaries, we all raved about stockings." The rationing of clothing continued until the fall of 1922, so that the word "clothing" acquired its true meaning only in 1923.
The introduction of the new economic policy provided residents of Soviet cities with a unique opportunity to legally buy clothes for the first time since 1917. NEP - a new economic policy that existed in the Soviet country from 1922 to 1929, was aimed at restoring the national economy and the subsequent transition to socialism. For a while, private property came into its own. True, the economy and the purchasing power of the population grew very slowly, and many workers were wearing torn uniforms from the civil war.
With the adoption of the NEP program, life in Soviet Russia changed. In a country devastated by revolution and war, after widespread famine, devastation, and a shortage of everything, abundance suddenly reigned. The counters of the shops, the shelves of which were empty until recently, began to burst. Every resident of a capital or a large city could gaze at the suddenly announced variety of goods, but few could buy them. So the prospects for NEP were not very bright. The country was still in ruin, unemployment, poverty, neglect.
In NEP Russia, magazines appeared, advertising beautiful life and fashionable clothes, shops with beautiful things. Literally everything could be bought in Moscow. Many goods ended up on the counters from pawnshops, where people carried their goods, often the remains of heirlooms. The people really wanted to buy not only food, but also new fashionable clothes. Soviet citizens are tired of "war communism". In NEP Russia, fashionable fetishes of the mid-20s became attributes of a beautiful life - a Marengo suit, a Boston suit, felt boots, carpet and cheviot coats, fur seals, astrakhan sake, squirrel coats, stockings with an arrow, Ubigan and Lerigan perfumes de coty "and other luxuries.
Private entrepreneurs - Nepmen began to import clothes to Russia from Europe. The Nepmen themselves and the families of middle and high-ranking functionaries, as well as famous people who were treated kindly by the Soviet government, dressed in expensive fashionable imported things. Those who could not afford the blessings of the new economic policy, provided themselves with fashionable clothes with needlework, altering old dresses, reshaping purchased cheap things, constructing fashion models from fabrics that they managed to "get" by referring to patterns in fashion magazines.

• A large number of tailor's workshops appeared in NEP Moscow. The most famous were "Maison de luxe" on Petrovka, "San Rival" on Pokrovka, the house of the workshop of the sisters E. V. and G. V. Kolmogorov, the workshop "Plisse" of A. Tushnov, the studio of Grishchenko, Coppar, Nefedova, Dellos.

• In the 1920s, the ARS school of artistic embroidery began operating in Moscow, run by Varvara Karinskaya. Soon Karinskaya opened the first Houte Couture salon for the Moscow elite, where they ordered the toilets of the wife of the communist "elite" and Nepmen. In addition, wealthy women of fashion went to the antique salon for jewelry, which was run by the stepdaughter of Varvara Karinskaya, Tatiana. In 1928, Karinskaya emigrated to Germany.

Clothing manufacturers, tailors, shoemakers, hats became the informal elite of Soviet society during the NEP era. In Soviet Russia, ateliers began to appear, in which high-class craftsmen worked, accessible only to members of the government and party leaders. The Kremlin ladies began to use the services of tailors and fashion designers in the most active way. Especially among them in the mid-20s, toilets "from Lamanova" were considered the highest chic.

The twenties in the new Soviet country, an amazing time, combining the avant-garde ideas of constructivism, the clothes of ordinary workers - red kerchiefs, long shapeless skirts, cloth shoes with a webbing, and outfits of ladies who use the benefits of the NEP with might and main and dress in the manner of European flappers. The first shock five-year plans had already begun, and the spirit of the Charleston was still in the air.

Of course, in the Soviet country there was always a territorial uneven distribution fashion... The concentration of the Soviet fashion industry was concentrated in the capital. The gap between the capital and the province was enormous. In the field of fashion, Moscow and the provinces were related as “reference” and “imitative” cultures. And if in large cities it was still possible to buy, or, as the people said, “get” good things or use the services of an atelier, then for the inhabitants of the village the concept of “ fashion"Simply did not exist. Therefore, speaking about the fashion of a young Soviet country, one has to describe the clothes in which the inhabitants, first of all, Moscow and large cities, wore.

During the NEP era, Soviet women of fashion imitated silent movie stars, considering them standards of beauty and taste. Among them are Olga Zhizneva, Veronika Buzhinskaya, Vera Malinovskaya, Anel Sudakevich, Anna Sten, Alexandra Khokhlova, Yulia Solntseva, Nina Shaternikova, Sofya Magarill, Sofya Yakovleva, Galina Kravchenko, etc. The success of these actresses did not go beyond the borders of Soviet Russia, but often in in their image and make-up, they copied Western movie stars.

Fashionistas of the 1920s had the same ideals as emancipated women all over the world - a thin figure that allows them to wear dresses with a low waist, knee-length, however, for Soviet ladies, this dream was not always realized, and in fashionable dresses had to be dressed in rather well-fed forms. Artificial flowers, strands of pearls - real or fake, wrapped around the neck, high lace-up shoes, fox or arctic fox fur boas, astrakhan jackets are in fashion. An important accessory for fashionistas of that time - hats, which in the first post-revolutionary years were criticized as a clear sign of the bourgeoisness, and were actively ousted by red kerchiefs.

In the men's outfit, shimmy or jimmy boots and oxford trousers were fashionable chic - short, ankle-length and tight. In the mid-1920s, these things are relatively affordable. So the poet Daniil Kharms wrote in his diary in September 1926: “I bought Jim's boots in Gostiny Dvor, Nevskaya Storona, shop 28”. Leggings (suede or linen covers of white, worn on men's boots), service jackets, breeches, leggings (a special kind of soft men's boots) are popular.

If at the beginning of the 20s it was necessary to observe the signs of Bolshevism and wear a blouse or sweatshirt, as well as a cap, cap and boots, then by the end of the 20s, thanks to the NEP, it began to revive fashion for clothes of European style. Beaver jackets, outerwear made of heavy and dense fabrics - gabardine, comb, carpetcat, cheviot, etc. appeared in the men's wardrobe. Men's leather boots with blunt socks - “bulldogs” - were considered luxury. The very common clothing of the 20s and early 30s was men's linen pants and white canvas shoes that were brushed with tooth powder, and striped T-shirts, worn by both men and women. Knitwear was also widely used in men's wardrobe - sweaters, vests, scarves, etc.

Since not everyone had access to the services of sewing masters, high-quality fabrics or good finished products, they had to invent fashionable toilets from improvised means. In the memoirs of the writer Nadezhda Teffi, one can read about women's entrepreneurship - curtains and curtains, sheets and other bed and table linen, tablecloths and bedspreads were used. Striped mattress teak was very popular, as well as any other fabrics used in household use. Cheap furs were very popular - rabbit, tsigayka. Dyed rabbit was the most common fur of that time.

True, fur was quickly declared a sign of the bourgeoisie. A simple toiler was not supposed to chase scarce furs, but to walk in winter in a quilted coat with cotton wool. There were big problems with shoes, because it was impossible to sew them at home as a dress or a blouse, and those who could not afford private shops exchanged shoes in clothing markets or worn old ones until they were completely crumbled; in winter, felt boots rescued many.
During the Civil War and NEP, the main "flea markets" of the country were the Tishinsky and Sukharevsky markets, where for relatively little money or, exchanging goods for goods, one could put on shoes and dress up. Tishinsky Market was a favorite shopping place of Muscovites until the 1990s, but Sukharevsky was closed back in the late 1920s.
The main thing for an ordinary Soviet worker of the late 20s - early 30s was a certain average standard, it was necessary to look like everyone else, to be like everyone else, not to stand out in anything. In a country where the word collective sounded everywhere, individuality was not welcomed. The crowd looked pretty monotonous.

To be continued ( History of Soviet fashion - part two 30s )

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The history of men's fashion. 20th century men's fashion

1900s in men's fashion

The latest period of refined masculine elegance. Petersburg in the era of the Silver Age was famous for its dandies. Russian fashionistas were guided by English fashion. The Prince of Wales, Queen Victoria's eldest son, later King Edward 7, was a style icon. It was he who first unbuttoned the button of the vest when he ate tightly. He also introduced the arrows on the trousers and the rolled-up trousers into fashion.
Long coat, frock coat and bowler hat are in fashion.

1910s in men's fashion

The frock coats were replaced by cropped blazers without padded shoulders with a high waist and elongated lapels. The male suit has acquired a more elongated silhouette. Jazz is in vogue and with it a jazz suit with pipe trousers and a tightly buttoned jacket. The First World War popularized the military uniform. The military model - a trench coat (from the English word trench, "trench") for soldiers of the British army, supplied by Burberry - is becoming so popular that it continues to be worn in civilian life.

In St. Petersburg, the main refined dandy is Prince Felix Yusupov.

1920s in men's fashion

The Prince of Wales was still a fashion role model. He introduced the cropped plus fours golf pants, which were worn with long woolen knee socks. During this period, Scottish "Fair Isle" sweaters, Panama hats, tight ties tied with a Windsor knot, two-button jackets, pocket squares, brown suede shoes and small-check English caps are worn. By the way, the "Prince of Wales" pattern on men's suit fabrics is named after Edward 7, who loved informal plaid suits.

In Russia, this is the time of war communism and civil war. After the 1917 revolution, the Silver Age dandies disappeared. They are being replaced by the avant-gardists of a new formation.

The mod of that time was Vladimir Mayakovsky.

Real dudes appeared in the era of the NEP. They wore striped trousers, bow ties, soft hats and boaters, and tried to be like the Americans of the jazz era.

1930s in men's fashion

Fashionistas imitate glamorous Hollywood stars. Hobbies in aviation, cars and sports are popular. A fit athletic physique is in fashion.
The suits have acquired a more masculine look, the shoulder line has increased, and the chest has expanded, the jacket has become close to the hips. Sportswear, jeans and knitwear appear in the men's wardrobe. Caps and leather helmets were worn on their heads. In the 30s, the so-called "captain's" hats with lacquered visors were popular. The colors of the clothes are dominated by brown and khaki.

During the war years, Russian dandies and dudes fell in love with trophy fashion. Things brought from Germany and other countries became fashionable goods for those who would later be called dandies.

1940s in men's fashion

The key image of a man during the Second World War is courageous and in military uniform. Short coats and short jackets with patch pockets were common items.
In the first period of the post-war period, unusual costumes called zoot (zoot suit) appeared in America, which consisted of a long double-breasted knee-length jacket with wide lapels and baggy trousers, narrowed at the bottom, a wide-brimmed hat was worn with the suit.

In the Soviet fashion of the post-war period, in comparison with the 1930s, the actual silhouette became wider, things seemed to be a little big. The felt hat was an important male business accessory. They wear double-breasted jackets, wide leg pants, and long coats. Dark tones prevailed. Light-colored and striped suits were considered special chic. Even after the war, the military uniform remained common clothing in civilian life, the image of a man in uniform was incredibly popular. Among other things, leather coats came into fashion.

Since 1947, styling began to captivate large circles of Soviet youth.

1950s in men's fashion

The post-war world was changing rapidly, and fashion changed along with it. In England, in the early 1950s, a style appeared that was called "Teddy Boys". This style is a kind of variation of the style of Edward 7 (Edwardian era), hence the name (in English Teddy is an abbreviation for the full name Edward). They wore tapered pipe trousers with cuffs, a straight-cut jacket with velvet or moleskin cuffs, narrow ties and platform boots (creepers). The bangs fit into the spinner.
In 1955, rock and roll entered the life of British youth, reflected in clothes in the form of silk suits, bell-bottomed trousers, open collars and medallions.
In 1958, the influence of Italy came into English fashion. Short square jackets, tapered trousers, white shirts with a thin tie and vests are in fashion, a scarf peeped out of the breast pocket of the vest. The boots have acquired a sharp-toed shape (Winkle-picker).

1960s in men's fashion

The world of men's fashion is undergoing significant changes: the industry of mass production of ready-made suits is launched. The gray suit becomes the uniform of office workers. A loose long blazer, button-down shirts, a narrow tie, Oxford shoes, a black wool coat and a felt hat are in vogue.

In 1967, among young people, the revival of the teddy-boy style, which received a new name rockabilly, a new version of the style was ennobled by the trend of glam rock. The costumes have gotten flashy colors.

1970s in men's fashion

Unlike the 1960s, in the 70s there was no single trend in fashion, there were different trends. Fashion as a way of self-expression. The trends were shaped by street fashion. In the youth environment, the hippie movement: long hair, bell-bottomed jeans, multi-colored shirts, baubles as accessories, neck pendants and beads.

Clothes are becoming more versatile and practical. There are a variety of styles and mixes in use. Turtlenecks became an iconic piece of clothing in the 1970s. In the Soviet Union, noodle turtlenecks are popular.

1980s in men's fashion

A new generation of luxury business people called the yuppies has emerged.
Italian fashion has become relevant, which has made popular tanning, black glasses and brown shoes. Men's wardrobe ceased to be universal and was strictly divided into business, evening and casual. At corporations, the dress code is "working Friday".

In the Soviet Union, at the peak of popularity, jeans "bananas" and "boiled". Blacksmiths flourished, branded clothes brought from abroad were considered a sign of wealth and style.

1990s in men's fashion

In the west, minimalism, simplicity and practicality have become the main fashion trends as opposed to the rampant consumption of the 80s. Men's business wear has become looser and simpler. Sports are popular and sportswear with logos of famous brands is becoming everyday.
Among the youth, the grunge style is widespread: baggy clothes of large sizes, gloomy tones. The variety of subcultures: rap, hip-hop, rock determines the appearance of teenagers.
Unisex style is popular. Casual wear becomes the basis of men's wardrobe.
In Russia, men's business fashion is dominated by the notorious crimson jacket - the personification of success and prosperity.
In the late 90s, the widespread dissemination of information technology leads to the rapid spread of fashion trends in the world.

2000s in men's fashion

This is the era of metrosexuals. The cult of a beautiful body is becoming the main idea of ​​fashion. Sleek looks and an emphasized interest in fashion trends are in fashion.

Based on sources:
Bible of style: wardrobe of a successful man / N. Naydenskaya, I. Trubetskov.
D / f “Breath of the Century. The life of a dandy "

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Blogger Donna Julietta writes: “Today I looked through various retro photographs that capture the history of people's lives and then thought it would be nice to see photographs that related to fashion, to see how it changed, how interestingly fashionistas dressed then. And I decided, why not make a review related to fashion by decades. Immediately I will make a reservation that I will not cite as an example women who were popular at a certain time, it is better to pay special attention to them. Let's just discuss fashion. "

(43 photos total)

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Source: Journal / make-your-style

Let's start from the 10s of the XX century.

1. Corsets held back women for years, made their figures much more beautiful and graceful, and life was harder. The inability to breathe in and out once again, constant diseases due to too tightly tightened "shells" - all this made the corset, although a significant item of the era, but very unpleasant.
Therefore, in 1906, women all over the world literally exhaled - a couturier named Paul Poiret first proposed wearing dresses of simple cut, without corsets. Very soon, such dresses became fashionable - that is why the tenth years were remembered as the years of "liberation" of women from the oppression of one of the most uncomfortable items of dress, and Paul Poiret became a real deliverer for ladies of high society.

2. In the tenths, Russian chic was in vogue - the "Russian Seasons", which were brought to Paris by the famous Sergei Diaghilev, were in vogue. Ballet, opera, art, exhibitions - all this was accompanied by a huge number of receptions at which our ladies could adopt the art of high fashion among Parisians.

3. It was then that all the familiar to us nowadays attributes of "chic life" in the wardrobe began to come into fashion - women bared their shoulders, began to wear very boudoir-looking toilets, decorating them with a huge number of feather fans, precious jewelry and shiny accessories.

Smoothly moving to the fashion of the 20s

4. During this period, sports, male-type sports figures entered fashion with confident steps, and female forms began to gradually lose their relevance and popularity. The ideal is a slender lady with narrow hips, without the slightest hint of a bust or other roundness. The famous Gabrielle Chanel can be called the reformer and revolutionary of the fashion of this period. Along with her at these times, fashionable clothes were created in such fashion houses as Nina Ricci, Chanel, Madame Paquin, Jean Patou, Madeleine Vionne, Jacques Doucet, Jacques Heim, Lucille ", the house of fur fashion" Jacques Heim "and others.

5. Egyptian motifs began to come into fashion in the 1920s. The designers' models were decorative, with an abundance of jewelry, embroidery in the zig-zag style. This style was called "Art Deco", and originated from the name of the exhibition of contemporary decorative and industrial art in Paris in 1925.

6. It was the style of embellishment and embellishment. Decor elements were present on furniture, kitchen utensils, and women's dresses.

7. Shoes, decorated with embroidery or appliqués, decorated to the taste of popular couturiers of that time, came into fashion. Art Deco is an eclectic style in which African abstract exoticism is mixed with geometric forms of cubism; unconventional inexpensive and simple materials are mixed with expensive traditional materials of good quality.

8. Such a combination of incompatible, mixed in one style.

9. As a result, the fashion features of the 20s:

- the main elements of clothing are, of course, dresses, straight cut suits;
- pleating is in fashion;
- fashionable coat with a straight cut tapering to the bottom and with a fur collar;
- Pajama pants and pajamas, in which they went to the beach at that time, are in fashion;
- the first swimwear for women appeared - a revolution in beach fashion;
- clothes were sewn from more affordable fabrics and knitwear became a discovery;
- sports style is in fashion, not only trousers appear, but also shorts;
- the appearance of the classic little black Chanel dress;

30s fashion

10. In these times, the cut of clothing became more complex. The quality of ready-to-wear, mass-produced, has improved markedly. Hollywood is the trendsetter in the United States. But even here firms began to appear that traded using catalogs sent by mail. These firms distributed new fashionable models in millions of copies.

11. Long skirts became the standard of fashion in the crisis times of the thirties. In 1929, Jean Patou was the first to offer long dresses and skirts, the waistline of which was in place. After this innovation, all fashion houses extended their models in two stages. At first, the length of dresses and skirts reached the middle of the calf, and a little later dropped almost to the ankle. Ladies who follow fashion trends have lengthened their clothes on their own. They sewed on wedges and various frills.

12. A very popular garment of the 30s was the women's streetwear, which existed in a wide variety of versions. Outerwear - coats and jackets were distinguished by their extraordinary elegance and variety of styles.

13. Each type of clothing, including a suit, was characterized by a wide variety of shapes and finishes. The cut of the suits became more complicated, began to rely on geometry, which gives clarity to the silhouette.

14. Decorative details and adornments were widely used in the costume. Hat, handbag, gloves and shoes - that's what should have been in the same color scheme. Accessories were chosen very strictly. As a rule, they were black or brown, and in summer they were white.

15. The accessories selected in this way easily fit any dress or suit, which was relevant during the crisis. In the fashion of the 30s, accessories played a huge role. After all, most women of those years, except for a hat or a handbag, could not afford anything else.

40s fashion

16. The dominant fashion trend in the early 40s was multi-layered long skirts, huge bows on clothes, sometimes with the addition of vertical stripes, lantern sleeves. It is worth noting that at the time, striped clothing was the most popular. The war broke out and the world went into a paramilitary state, so the fashion of the 40s underwent significant changes. Women have no time to think about makeup and replenishment of their wardrobe.

17. During this period, the appearance of outfits was greatly simplified to minimalism in everything. Natural fabrics are no longer used for civilian purposes. Clothes for women began to be produced and sewn from acetate silk and viscose.

18. Floral designs are returning to fashion: ornaments, small flowers have become the main decoration of fabric and dresses made of this material. It became impossible to sew blouses and shirts from white fabric, so cuffs and collars began to take root in fashion. The discovery of the war period was the popular and nowadays style of "military"

19. At the same time, a new model of footwear was released: shoes with stiletto heels.

20. Another innovation was the production of turtleneck sweaters, these models with a high collar under the throat deservedly received the recognition of fashionistas of those times.

50s fashion

22. In the post-war years, social differences have become noticeably aggravated. Wives have again become a symbol of their spouses' well-being, as a kind of showcase for those around them. Visiting a hairdressing salon and applying makeup has become an obligatory ritual for every woman. An ideal woman, even if she did not work anywhere and was a housewife, had to be fully equipped in the early morning: with the perfect haircut, heels and makeup, stand by the stove or vacuum the carpet.

23. Even in the Soviet Union, in which the way of life was significantly different from that of the West, it was customary to do hair styling in a hairdresser or perm at least once a week, which also began to come into fashion with particular impetuosity.

24. The '50s style contrasted the hourglass silhouette with the crisp, wide-shouldered silhouette that was popular during the war years. Thus, special requirements were imposed on the figure: sloping shoulders, thin waist, rounded feminine hips and lush breasts.

25. To meet these standards, women wore tight corsets, tucked cloth or cotton wool into their bras, and tightened their bellies. The images of the beauty of those times were: Elizabeth Taylor, Lyubov Orlova, Sophia Loren, Clara Luchko, Marilyn Monroe.

26. Among the young population, the standards were Lyudmila Gurchenko and others. A fashionable and stylish woman of the 1950s style resembled a flower in silhouette: a fluffy floor-length skirt, under which a multi-layered petticoat, high heels with stilettos, nylon stockings with a seam were worn. Stockings are a must-have accessory to complete the look and are extremely expensive. But what women did not go to to look attractive and feel like beauties following fashion trends. It was problematic to buy fabrics at that time, they were released into one hands no more than a certain amount approved by the norms of those times. To sew one skirt for the "new silhouette", it took from nine to forty meters of material!

60s fashion

The legendary 60s were the brightest decade in the history of world fashion, free and expressive, a period of solemn procession of the so-called youth fashion. A new style needed new hairstyles. And again London was ahead of Paris in terms of innovative ideas. In 1959, the French film Babette Goes to War was released with Brigitte Bardot in the title role. A casually fluffed up hairstyle with a pile, despite the fact that it takes a lot of time for fashionistas to create it, is becoming super popular.

27. Accessories became very popular: beads made of large beads, voluminous jewelry, macro glasses that covered the half of the face.

28. In London, the most scandalous clothing of the sixties was born - a miniskirt, a symbol of emancipation and the sexual revolution. In 1962, legendary Mary Quant showed the first collection of mini-length pieces. The new style, called "London style", very quickly conquered the youth of the whole world.

29. 60s - the era of synthetics and everything artificial. Synthetic fabrics are widespread in mass fashion - they are considered the most comfortable and practical, since they do not wrinkle and are easy to wash, in addition, they are cheap.

30. Fashion of that time favored unnaturalness - false eyelashes, wigs, hairpieces, jewelry. High women's boots with low heels, with a narrow or wide rounded toe made of leather or synthetic material, called go go, are becoming super popular. Boots became widespread with the emergence of the mini length fashion and the dance style of the same name.

Fashion from the late 1960s was influenced by the hippie movement. Young people opposed social and class differences, racial discrimination and war. With their appearance, the hippies emphasized the denial of the norms of official culture. Their clothes are deliberately sloppy and even sloppy - ripped jeans, beaded bracelets, fabric bags over their shoulders. The sexlessness of the appearance is emphasized, long hair symbolizes freedom.

70s fashion

31. In the 1970s, fashion became even more democratic. And, despite the fact that many call the 70s the era of bad taste, we can say that it was in those years that people had more means to express themselves through fashion. There was no single style direction, everything was fashionable: ethnic, disco, hippie, minimalism, retro, sports style.

32. The motto of the 70s was the expression “Everything is possible!”. For the choice of progressive and active young people, couturiers presented several styles, none of which could be called dominant. The most fashionable element of the wardrobe was jeans, which were initially worn only by cowboys, and then by hippies and students.

33. Also in the wardrobe of women of fashion of that time were trapeze skirts, flared trousers, tunics, overalls, blouses with large bright prints, turtleneck sweaters, A-shaped silhouette dresses, shirt dresses.

34. In addition, it should be noted that clothing has become more comfortable and practical. The concept of a basic wardrobe, consisting of the required number of things that are combined with each other, appeared. As for shoes, platform shoes have gained popularity.

35. Of the designers in the 70s, Sonya Rykiel was singled out, who was called the new Chanel. Sonia Rykiel created comfortable, comfortable clothes: sweaters, cardigans, dresses from woolen knitwear and mohair.

80s fashion

36. In the fashion of the 80s, retro images intertwined, reinterpreted by designers, as well as those born of youth subcultures, music and dance trends, the continuing boom of sports.

37. Hip-hop, gothic, post-punk, rave, house, techno, break dance, snowboarding, skateboarding, roller skates, step aerobics - all these phenomena were reflected in the style of the decade.

38. The list of iconic items from a decade of stylistic revelry is impressive - padded shoulders, banana trousers, military and safari clothing, kimono, bat and raglan sleeves, leggings with bright patterns, black fishnet tights, worn denim, so-called dumplings, black leather jackets, lurex, massive jewelry, jewelry buttons on jackets, voluminous hairstyles or styling with the effect of "wet hair", cascading haircuts, spiral perm, hair of decorative flowers, such as "eggplant", highlighting "feathers". A lot of cosmetics were used in deliberate shades with sparkles and mother-of-pearl.

The massive 1980s can be described as excessive. Everything is, as it were, "too" - too narrow, too voluminous, too catchy, too bright. In the 80s, designers who thought outside the box and created unusual clothes with original decor elements were successful: Vivienne Westwood, John Galliano, Jean-Paul Gaultier.

90s fashion

39. The style of the 90s in clothes, which has become universal, is better called not a style, but a new approach to the choice of clothes. Because in the fashion of the 90s, the very principle of creating your image is changing, as well as the principle used in creating a costume. The main appeal of the nineties is "to be what you are!" In those days, special attention was paid to denim clothing - only the lazy did not go in it. Avid fashionistas managed to wear jeans with denim shirts, bags and boots. So the style of the 90s can be safely called "denim", since every person had such a thing in more than one copy.

40. In the nineties, unisex fashion spread all over the world: jeans with a T-shirt or loose-fitting trousers with a sweater, complemented by comfortable shoes.

41. Nineties - the time of sneakers and flat shoes. This unisex style is very fond of big Italian and American companies such as Banana Republic, Benetton, Marko Polo. The costumes strive for simplicity and functionality, which, however, revives the traditions of partner art, when along with strict asceticism in the costume there is a deliberate theatricality with a bright gamut of colors. Fashion changes depending on the social orientation and territoriality, as in Europe, bohemia prefers conceptual designer clothes.

42. The main fashionable focus of the nineties is not on clothes, but on its owner. A fashionable look is created by a slender figure with tanned or milky skin. Body culture flourishes as in the days of Ancient Greece. Fashionistas and women of fashion visit not only sports clubs, but also beauty parlors and even use the services of plastic surgery. Catwalk supermodels become role models, television and fashion magazines have made a significant contribution to this.

43. Well then. This concludes my review. I would like to say that of all times, the 30s, 50s and 70s are closer to my preferences. In general, everything new is a long forgotten old.

The first fashion designer who was not just a dressmaker was (Charles Frederick Worth) (1826-1895). Before the former Draper created his "Maison of Fashion" Fashion House in Paris, the creation of fashion and inspiration was handled by largely unknown people, and haute couture evolved from the style worn in the royal courts. The success of the price was such that he was able to dictate to his clients what they should wear, instead of following their example, as the tailors had previously done.

It was during this period that many design houses began to hire artists to paint or write designs for clothing. Only images can be presented to customers for much less cost than producing an actual garment sample in a workshop. If the client liked the design, they ordered it and, as a result, the clothes made money for the house. Thus, the tradition of clothing designers to sketch designs instead of presenting completed garments on customer models began the economy.

The beginning of the twentieth century

During the early 20th century, virtually all haute couture originated in Paris, and to a lesser extent London. Fashion magazines from other countries sent to editors shows Parisian fashion. Department stores shipped to buyers at the Paris show, where they purchased clothing to copy (and openly stole the style of the lines and trimmings of others). Both bespoke salons and ready-to-wear departments featured the latest Paris trends, adapted to the stores' assumptions about the lives and pocket books of their target customers.

wawaAround early twentieth century fashion magazines style began to include photography and became even more influential than in the past. In cities around the world, these magazines were highly sought after and had a huge impact on the tastes of the public. Talented illustrators - among them Paul Iribe, Georges Lepape, Erte, and George Barbier - Drew exquisite fashion plates for these publications, which cover the latest developments in the world of fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton which was founded in 1912 by Lucien Vogel and published regularly until 1925 (excluding the war years).

1900

The outfits worn by fashionistas from Belle Epoque (in this era was called French) were strikingly similar to those worn during the heyday of fashion by pioneer Charles Worth. Towards the end of the nineteenth century, the horizons of the fashion industry were broadly broadened, in part due to the more mobile and independent lifestyles of many wealthy women, beginning to adopt the practical clothes they demanded. However, La Belle Epoque fashions still retain the sophisticated, soft, hourglass-shaped style of the 1800s. The lady who is not yet fashionable will (or may) dress or undress herself, without the help of third parties. The constant need for radical change, which is now necessary for the survival of fashion within the existing system, was still literally unthinkable.

Notable waste and ostentatious consumption defined the fashion of the decade and the couturier's outfits of the time were incredibly extravagant, sophisticated, ornate, and painstakingly made. The curvy S-Bend silhouette dominated fashion until around 1908. The S-Bend corset was very tightly laced at the waist and therefore forced by the hips back and drooping mono breasts pushed forward into the action of the disgruntled pigeon man creating the S shape. Towards the end of the decade, the fashionable silhouette gradually became somewhat straighter and thinner, which is partly due to Paul's high waist Poiret, in a short skirt Directory clothing line.

Maison Redfern was the first fashion house to offer women a suit based directly on its masculine counterpart, and extremely practical and soberly elegant clothing soon became an essential part of any well-dressed woman's wardrobe. Another integral part of a well-dressed woman's outfit was the designer hat. The fashionable hats at the time were either small pastries that sat on the top of the head, or large and wide brims, trimmed with ribbons, flowers, and even feathers. Umbrellas are still used as decorative accessories and in summer they are dripped with lace and added to the overall sophisticated prettiness.

1910 year

In the early years of the 1910s, the fashionable silhouette became much more flexible, fluid and softer than in the 1900s. When Ballets Russes performed Scheherazade in Paris in 1910, the Orientalism craze ensued. Couturier Paul Poiret was one of the first designers to translate this fashion into the fashion world. Poiret's clients were immediately transformed in the girl's harem into fluttering pantaloons, turbans and bright colors and geisha into exotic kimonos. Paul Poiret also designed the first outfit that women could wear without the help of a maid. The Art Deco movement began to emerge during this time and its influence was also evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headwear popular in the 1900s. It should also be noted that the first real shows were organized during this time period, by the first woman couturier, Jeanne Paquin, who was also the first Parisian couturier to open overseas branches in London, Buenos Aires and Madrid.

Two of the most influential modes of reflected light. His esteemed clients have never lost their taste for his fluid lines and flimsy, transparent materials. While obeying the imperatives that left a little imagination of the couturier, Doucet is nevertheless a designer of great taste and discrimination, the role many have tried so, but rarely with Doucet's level of success.

Venice-designer Mariano Fortuny Madrazo had a curious figure with very few parallels at any age. For his dress designs, he conceived a special pleating process and new dyeing techniques. He gave the name Delphos for his long cling sheath dresses that are wavy with color. Each garment was made from a single piece of the finest silk, its own unique color, acquired by repeated immersion in dyes whose shades were indicative of moonlight or watery reflections of the Venetian lagoon. Breton straw, Mexican cochineal and indigo from the Far East were some of the ingredients that Fortune used. Among his many devotees were Eleanor Duse, Isadora Duncan, Cleo de Merode, the Marquis of Casati, Emilienne d "Alencon, and Liane de Pougy.