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com/2008/09/17/top-
fashion-icons-of-the-20th-century/
http://www.theage.com.au/photogallery/lifestyle/fashion/t
op-fashion-icons-of-the-20th-century/20090423-
agbg.html?selectedImage=1
1990s
In the 1990s it was no longer the done thing to follow fashion slavishly, a sharp contrast
to the highly á la mode '70s and '80s. The phobia of being underdressed was finally
completely displaced by the fear of overdressing. Fashion in the '90s united around a
new standard, minimalism, and styles of stark simplicity became the vogue. Despite the
best efforts of a few designers to keep the flag for pretty dresses flying, by the end of the
decade the notion of ostentatious finery had virtually disappeared. As well as the styling
of the product, its promotion in the media became crucial to its success and image. The
financial pressures of the decade had a devastating effect on the development of new
talent and lessened the autonomy enjoyed by more established designers.
Fashion at the end of the 20th century tackled themes that fashion had not previously
embraced. These themes included rape, disability, religious violence, death, and body
modification. There was a dramatic move away from the sexy styles aimed at the
glamorous femme fatale of the Eighties and many designers, taken with a vision of
romantic poverty, adopted the style of the poverty-stricken waif, dressed in a stark,
perversely sober palette, with a face devoid of make-up. Clothes by ready-to-wear
retailers such as The Gap, Banana Republic, and Eddie Bauer came to the forefront of
fashion, managing to tap into the needs of women who simply wanted comfortable,
wearable clothes. Retro clothing inspired by the 1960s and 1970s was popular for much
of the 1990s.
The famous Italian fashion house, Gucci was created in 1921, by Guccio Gucci and was
originally a firm that sold luxury leather goods. Under Guccio Gucci's children, by the end
of the 1960s the label had expanded to include a plethora of products with a distinctly
Latin glamor. However, only in the '90s, when the Gucci heirs gave up control of the
company to Invest Corp., who planned to turn the business around, did it truly begin to
enjoy the kind of success it enjoys in the present day. Employing an unknown designer,
Tom Ford, as design director in 1994, the fashion house was endowed with a great
prestige, as Ford triggered a tidal wave with his chic and shocking collections, perfumes
for men and women, revamped boutiques, and advertising campaigns. In 1998 Gucci is
named "European Company of the year" by European Business Press Federation.[1] Today
it is the second biggest-selling fashion brand (after LVMH) worldwide with US$7 billion
worldwide of revenue in 2006 according to BusinessWeek magazine.[2] Most importantly
Gucci is the biggest-selling Italian brand in the world.[3]
In the '90s the designer label Prada became a true creative force in the fashion industry.
The Milanese company was first established in 1923, two years after Gucci, and like
Gucci, it was a firm that sold high-quality shoes and leather. It was not until the Eighties
that Miuccia Prada, the niece of the company's founder, began to produce ready-to-wear
fashion, gaining fame for her subtle, streamlined, yet unquestionably luxurious style, that
catered for the privileged young woman who prefers understatement to flamboyant
extravagance.
In America three of the most influential fashion designers of the time were Michael Kors,
Marc Jacobs, and Calvin Klein. Michael Kors set up his own business in 1980. However, it
was not until the Nineties that the designer reached the peak of his popularity. His
knowledge and consciousness of trends enabled him to produce simple well-cut
garments, whose sophistication and elegance appealed to a whole new breed of wealthy
American customers drawn to the new vogue for minimalist chic. Marc Jacobs is one of
the most notable American designers of the period in that, unlike many American fashion
designers in the past, he was not so much the co-ordinator of a mass-produced garment
as a designer in the European sense of the word. One of the most promising talents in
the fashion industry at the time, the LVMH (Louis Vuitton-Moet Henessy) group offered
him the job of designing a line of ready-to-wear to compliment the de-luxe products of
luggage specialist Louis Vuitton in the late '90s. One of the first fashion designers to
anticipate the globalization of world markets, the already well-known designer Calvin
Klein started to market his fashions, perfumes, and accessories not only right across the
US, but also in Europe and Asia, achieving an unequaled success. A brilliant artistic
director, Klein used carefully constructed advertisements containing images tinted with
eroticism to promote his sophisticatedly functional mass-produced designs, which won
massive popularity among the urban youth of the 1990s.
The group of designers known as the 'Antwerp Six' (so named because all of them were
graduates of the Royal Academy of Fine Arts in Antwerp), who first emerged in the
1980s, came to prominence in the 1990s. Three of the most influential of the group were
Ann Demeulemeester, Dries van Noten, and Walter Van Beirendonck. Ann
Demeulemeester, from her first collection in 1991, demonstrated a great deal of
confidence and inventiveness. Naturally inclined to understatement, she built her designs
on contradictions, introducing contrasting elements into her fluid and streamlined
fashions, which appealed to women who dressed, above all, to please themselves. The
work of Dries van Noten was founded on a solid mastery of the art of tailoring, to which
the young designer added discreet touches of fantasy in a highly personal style.
Managing to be both classical and original, his fashions appealed to those who preferred
to express their individuality rather than slavishly follow trends. Walter Van Beirendonck,
who erupted onto the fashion scene in 1995, produced decidedly futuristic designs under
his label W & LT (Wild and Lethal Trash). Deliberately using fabrics developed by the very
latest technologies, in violently contrasting colors, he produced clothes that were full of
erotic and sadomasochistic references, touched with a caustic adolescent humor. His
highly distinctive approach related to a resurgence of anti-fashion, but this time an anti-
fashion with nothing in the least ethnic about its origins, instead based on science fiction
that provided the inspiration for displays of such high-spirited provocation.
In Italy, Gianni Versace, with his brilliant, sexy, and colorful designs, and Dolce &
Gabbana, with their superfeminine and fantastical style, broke away from the serious and
sober-minded fashions that dominated during much of the Nineties. The British designer
Vivienne Westwood produced many influential and popular collections in the early '90s,
which included outfits inspired by 18th-century courtesans and the Marquis de Sade, with
rounded hips, corsets, and platform heels. The London-based designer Rifat Ozbek was
also popular, particularly in New York and Milan. His youthful style, which mixed
references to India, Africa, and his native Turkey with clever takes on historical clothing,
was reminiscent of hippest nightclubs and the more outrageous street fashions of the
time. Rap music was a prominent influence on popular and street fashion during the
early- and mid-Nineties. Followers of hip hop adopted huge baggy jeans, similar to those
worn in American prisons, with big patterned shirts and heavy black shoes. The sports
label Nike had great popularity and materials such as Lycra and Spandex were
increasingly used for sportswear. Increasing eco-awareness and animal rights made even
top couture houses such as Chanel introduce fake fur and natural fibers into their
collections.

[edit] 2000s
In the '00s, as the future began to seem increasingly bleak, fashion, and indeed the Arts
in general, looked to the past for inspiration, arguably more so than in previous decades.
Vintage clothing, especially from the Sixties, Seventies, and Eighties (the eighties idea of
clashing, electric colours becoming especially popular in mid-late 2007) became
extremely popular and fashion designers often sought to emulate bygone styles in their
collections. The early '00s saw a continuation of the minimalist look of the '90s in high
fashion. Later on, designers began to adopt a more colorful, feminine, excessive, and
'anti-modern' look. Name brands became of particular importance among young people
and many celebrities launched their own lines of clothing. Tighter fit clothing and longer
hair became mainstream for many men and women.
For many of the own-label designers who emerged in the early years of the 21st century,
financial factors became increasingly critical. Many new young talents found they now
depended on investors (to whom, in extreme cases, they would even surrender their
names) and were always burdened by the risk that their partners, motivated by market
realism and the desire for quick returns, would severely restrict their autonomy.
The mid first decade of the 21st century celebrated the return of a more feminine look.
This began with the comeback of the dress. The figure-hugging look was disbanded in
the summer of 2007, when designers began to experiment with flowy, tunic shapes.
Bright, block colour also became a focus. Menswear has become increasingly important
as well and has too gone in a slightly feminine direction, especially apparent after the
middle of the decade.

Isabella Blow The Last 20th Century Fashion Icon

Isabella Blow (1958-2007): One of the last 20th century fashion icons was sadly missed at the
launch of a new book by her PA Martina Rink, celebrating her life and hats. ArtLyst covered the
party, Haunch of Venison Gallery, London, 13/09/2010. The event was attended by many friends
including,Boy George, Rupert Everett and Vidal Sassoon. Many Thanks to her cousin Shelagh
Delves-Broughton for inviting me to the event

Four great 20th century icons

What makes a real fashion icon? Melissa Chrys picks out come classic fashio heroes.
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British rock singer, David Bowie, poses beside his Rolls Royce in May 1973.
With the bright coloured suits, the lycra and shockingly bright red mullet, Bowie has always turned heads.
8 Sep 2010
Melissa Chrys
Fashion icon - it's a term that is bandied about with such gay abandon these days, it seems modern-day celebrities
don't need to do much in the way of dressing themselves to be bestowed with such a title.
But I think we all have someone who inspires our personal style or who's fashion choices we envy and admire.
It doesn't always have to be a celebrity, sometimes it's a stranger on the street, or even someone in our own family,
who can prove to be a source of sartorial inspiration.
A true style icon is someone who goes their own way.
A fearless individual who's confidence ensures that they look fabulous in whatever they choose to wear.
Here's my pick of some of our greatest fashion heroes…
Katherine Hepburn
The woman who wore the pants in Hollywood.
When everyone else was bursting out of their pretty dresses, Hepburn broke all the rules and started wearing trousers
- men's trousers.
Her style was casual and masculine, but she still managed to look stylish, feminine and intelligent.
It was her individuality and confidence that made her sexy.
Madonna
There's a reason she's original material girl.
Madonna is the queen of invention and reinvention, and while her looks may not be to everyone's taste, she sells them
well because she believes in them.
She has confidence in her choices and has pioneered some of the most individual looks we've seen.
Lady Gaga may think she's being avant garde by walking around without any pants on, but Madonna did it all before
her - and with far more class.
Kate Moss
Yes, I know she's a skinny-ass, drug-snorting trash bag, but she always manages to look fantastic.
She's certainly not a role model for living your life, but she makes some brilliant choices when it comes to getting
dressed.
This is a woman who doesn't follow trends, she starts them.
Whether she's working a designer gown or rushing across town in jeans and a vintage top, she always looks perfectly
styled.
And for all the issues with her personal life, she's still managed to turn herself into a multimillion dollar brand.
David Bowie
With his gender-bending fashion and makeup choices, David Bowie has truly earned his status as a fashion icon.
With the bright coloured suits, the lycra and shockingly bright red mullet, Bowie has always turned heads.
He's like the male Madonna. Who's ever done the androgynous look better?
What other man can wear sequins with such flair?
He manages to wear the seemingly outrageous without looking like he's in a costume.
And while he may not be the most handsome of the bunch, there is something about David Bowie that I find
irresistible.
He is bold, unafraid and individual.

1900s: Jeanne Lanvin

Lanvin made such beautiful clothes for her daughter and soon she was
asked to make dresses for their mothers, some of the most famous women in
Europe.
1990s: Anna Wintour
Since 1988 she was editor-in-chief of Vogue and revived the fashion
publication. She is known for her demanding ways and support of younger
designers as portrayed in the film, The Devil Wears Prada.
1900s: Jeanne Lanvin
Lanvin made such beautiful clothes for her daughter and soon she was
asked to make dresses for their mothers, some of the most famous women in
Europe.
1910s: Anna and Laura Tirocchi
The Tirocchis managed to distinguish themselves from over 800
dressmakers in Providence at the time.
1920s: Coco Chanel
Her simplicity and modernist fashions debatably made her the greatest
designer of the century.
1930s: Elsa Schiaparelli
Heavily influenced by Surrealists, she was a fierce competitor of Coco
Chanel.
1940s: Christian Dior
His voluptuous designs reestablished Paris as the center of fashion
after WWII.
1950s: Marilyn Monroe
After her performances in The Asphalt Jungle and All About Eve she was
a worldwide fashion and sex symbol.
1960s: Jackie Kennedy
She influenced the style in the sixties with her clean suits, A-line
dresses and pillbox hat.
1970s: Valentino Garavani
Known for his glamorous and flamboyant style, he catapulted into the
70s after winning the Neiman Marcus Award, the equivalent of an Oscar in
the field of fashion, in 1967.
1980s: Princess Diana
Princess Diana’s style and use of the color red sparked imitation
throughout high-end boutiques. She frequently wore Versace, Christian
Lacroix, Ungaro and Chanel.
1990s: Anna Wintour
Since 1988 she was editor-in-chief of Vogue and revived the fashion
publication. She is known for her demanding ways and support of younger
designers as portrayed in the film, The Devil Wears Prada.

Behind the well-known Chanel bags is a legend. Named one of the top 100
people who influenced the 20th century fashion, Chanel was a pioneer of
fashion.
Her style was inspired by men clothing and simple outfits but very expensive.

There are six things that marked the era of Coco Chanel and who made her one of the
most influential fashion icons of all time.
4. Coco Avant Chanel (2009)
“Coco avant Chanel” follows the unhappy childhood and early life of famous French
fashion designer Gabrielle Bonheur Chanel.

After several years, Chanel has received an Audrey. This time, it was about Audrey
Tautou.
Tautou succeeds to be very close of the original image of Chanel, showing elegance and
determination behind some clothes and a figure too often untidy.
Although she emphasizes the idea of courtesan, Audrey Tautou is a success Chanel, and
we can read on her face determination and ambition.

5. Quotes by COCO CHANEL

“A woman without a perfume has no future.”
‘Fashion which doesn’t reach the street is not fashion’
“A woman has the age that she deserves”
“To be irreplaceable, you must be different.”
“Fashion passes, style remains”
6. Amazing things about COCO CHANEL

6.1 She loved pockets

Coco was so excited by pockets that this has become the main point in creating
handbags. More and extremely useful: pockets.
For more than 30 years, Chanel made the Ritz Hotel in Paris her second home. It is
rumored that the German officer, Dincklage whom she had a relationship made all
arrangements possible for her stay.

Spread the rumor

Related rumors

• Fashion icons which revolutionized fashion

industry

• Jill Clayburgh died at 66 after 20 years of

battle with leukemia
 • Top 5 Diva Perfumes 2010

• Jessica Alba’s Top 5 Best Dresses

• Is Paris Hilton jealous of Kim Kardashian?

• Paris Hilton and the breasts dilemma

Filled under: 20th century, Audrey Hepburn, Audrey Tautou, black dress, Cannes,
CARDIGAN JACKET, Chanel No. 19, CHANEL NO. 5, classic, classic black dress,
Coco Avant Chanel, Coco Chanel, Dincklage, expensive, fashion icon, handbags,
HAUTE COUTURE, Katharine Hepburn, LITTLE BLACK DRESS, Marilyn Monroe,
pockets, RITZ HOTEL, simple outfits

2 Opinions to “Coco Chanel, 20th century fashion icon”

Coco Chanel - Most Influential Fashion &

Style Icon of the 20th Century
Pioneering French Couturier
As the fashion designer, who gave us the incomparable House of Chanel, "Coco" influenced
countless fashion and style trends around the world. In fact, she mastered the art of creating
truly iconic fashion --

items that are as stylish now, as the day they were made,
so many years ago.

Gabrielle Bonheur "Coco" Chanel, the talented French

couturier, who is celebrated for contributing numerous
elements to the world of women's fashion -- the little
black dress, her one of a kind Chanel No. 5 fragrance and
much more. During the period of the 1920s, Coco even
popularized the look of sun-tanned skin, setting a new
standard of "beauty" among society as a whole.

Fashion is not something that exists in dresses only.

Fashion is in the sky, in the street,
fashion has to do with ideas,
the way we live,
what is happening. -- Coco Chanel

Chanel the Brand

Past and present -- Chanel is a label defined by elegance
and simplicity. The brand features modern designs in
fashion accessories, eyewear, ready-to-wear and haute
couture collections. In regards to the original work done
by Coco, scores of her clothing designs were created
from jersey -- a fabric which had not been employed ever
before in the realm of women's fashion. In fact, it was
often used to make men's underwear. The pioneering
designer's signature Chanel suits were inspired by
menswear styling -- with comfort and design reigning
supreme. Over the years, her popular collections
primarily incorporated variations of her favorite hues --
beige, black and white.

Background
While most people are familiar with Chanel as a luxury
designer brand, few know anything about the life of the
style icon, who originally founded the successful label.
Nevertheless, Chanel's impact on the world of fashion is
simply undeniable. Businesswoman and designer,
"Coco" Chanel was the only individual in the field of
fashion, to be named one of 'The Time 100: Most
Important People in History' for the twentieth century.
Build your own FREE website at Tripod.com Share: Facebook | Twitter | Digg | reddit

Perceptions
Of Female
Beauty
In The 20th
Century
by Louise Wood
The 20th century has seen a huge
upsurge in the importance placed
by Western society on physical
beauty, particularly for women. The
fashion, cosmetics and plastic
surgery industries have thrived on
20th century preoccupation with
physical appearance. It is a
preoccupation that affects women in
every sphere, whether they choose
to pander to it or not. This essay
examines female beauty in the 20th
century in terms of popular culture,
in particular fashion, cinema and
advertising. before exploring these
areas, I intend to deal briefly with
basic definitions of beauty. The
main body of the essay will then be
concerned with an overview of each
decade's particular take in female
beauty.
According to Kant, the judgement of
beauty is different from cognitive or
moral judgement because it is
effected subjectively, that is,
exclusively in reference to the
person making the judgement. For a
judgement to be truly “aesthetic”,
rather than merely idiosyncratic, the
person making the judgement must
be adamant that their opinion be
consensus. “A person who describes
something as beautiful insists that
everyone ought to give the object in
question his approval and follow
suit.” Plato, one of the earliest
philosophers to concern himself
with beauty, defined it as a
“property intrinsic in objects” which
could be measured in “purity,
integrity, harmony and perfection.”
Definitions of beauty in the 20th
century, when referring to human
physical beauty, are nearly always
constructed in terms of outward
appearance and sexual
attractiveness. Nancy Baker's
definition is The Beauty Trap is
more concerned with intangible
personal qualities. “A truly beautiful
woman makes the best of her
physical assets but, more
importantly, she also radiates a
personal quality which is attractive.”
In Beauty In History, Arthur Marwick
defines a human physical beauty in
more direct terms: “The beautiful
are those who are immediately
exciting to almost all of the opposite
sex.”
For the first two decades of the 20th
century, many of the attitudes
towards beauty associated with the
19th century remained. In Victorian
society, it was considered a
woman's duty to make herself
beautiful. In the early 20th century,
this was coupled with the idea of
“self-presentation” as enjoyable,
expressive and creative. However,
some of the more bizarre and
painful “beauty aids” of the
Victorian age continued to be
marketed well into the 1920s. A
particularly unpleasant example is
“M.Trielty's Nose Shaper”, described
as a “metal object ... held over the
nose by straps buckled round the
head and adjusted with screws.”
One of the main elements of this
century's perception of beauty that
sets it apart from the 19th century
is the polarity of cosmetics. In the
last century, cosmetics were
frowned upon in society as the mark
of a prostitute. The cosmetics
industry grew from the roots of the
manufacturing of theatre make-up
by Helena Rubenstein and Max
Factor, who adapted their products
for everyday use.
From puberty onwards, young girls
use cosmetics in order to look older
an attract older boys. Conversely,
their mothers use cosmetics in
order to disguise the flaws of age
and maintain a youthful
appearance. That is not to say that
the cosmetics boom does not have
its adversaries: many feminists
believe the marketing of cosmetics,
along with high fashion, to be an
exploitation of women by male
industry moguls. Some women
resent having to use cosmetics in
order to compete in the workforce.
But for many women, the cosmetics
ritual is not a chore or a necessary
evil, but an enjoyable activity in
itself. It is not purely for the benefit
of men that women wear cosmetics,
but for themselves and each other.
The cosmetics and fashion
industries are interdependent with
the medium of advertising. Cynthia
White points out that the turnabout
in opinions on cosmetics is women's
magazines in the 1920s coincided
with the increase of cosmetics
advertising in the same
publications. Advertising is often
presumed to have little cultural
value, but is a powerful way in
which attitudes towards women and
beauty are reinforced. The 20th
century fascination with celebrities
is a tool expertly used in the
advertising industry. If a beautiful
model, or more effectively a
beautiful celebrity is used in an
advertisement, the qualities
associated with that person are
transferred onto the product.
Another major influence on this
century's attitudes towards beauty
was the growth of the film industry.
For the first half of the century, all
the major beauty icons were film
actresses. It was a medium that
allowed women who would have
previously been overlooked to
shine. For instance, the 19th
century aversion to redheads was
still in place as late as the 20s. It
was that black-and-white medium
that allowed Clara Bow to be the
exception. However, stars such as
Bette Davis and Katherine Turner
who could not be described as
“conventionally beautiful” invariably
came from middle or upper class
backgrounds. Beauty was an
essential attribute for a working
class woman to become successful
in Hollywood. This period was also
the beginning of the ties between
the film and fashion industries,
which would continue for decades to
come.
Up to the 1910s, the “Gibson Girl”,
invented by Charles Dana Gibson in
the 1890s, was still considered to be
the ideal of femininity. The Victorian
ideal of “the chaste and delicate
woman” continued to be embodied
in the form of childlike, virginal film
stars such as Lillian Gish and Mary
Pickford. A more typical 20th
century contrast was provided by
Theda Bara, who was perpetually
cast in the role of the Vamp.
By the second decade of the
century, fashion was losing its
Victorian austerity, and giving way
to soft, draping, Oriental-inspired
fabrics. However, corsets were still
worn, and the fashion for long,
narrow skirts prompted the
popularity of the “hobble garter”, a
device worn around the calves to
stop women from taking long strides
and splitting their skirts.
One reason given by Fred E. H.
Schroeder, quoted in Women In
Popular Culture, for the continuing
popularity of long skirts was the
bulky menstrual cloths worn by
women until the advent of
disposable feminine hygiene
products in the 20s.
1920s fashion placed more
importance on “natural
endowment” than any time in the
preceding centuries. although
cosmetics were worn to conceal
natural flaws, their main function
was to draw attention to women's
natural features. Skirts became
shorter than they had possibly ever
been, but in contradiction to the
atmosphere of freedom in fashion,
feminine curves became
unfashionable. Women wore
“flatteners” to minimise their busts,
and waistlines were lowered to hip
level. The ubiquitous bobbed
hairstyles of the 20s were originally
cut in barber shops. When barbers
failed to meet the demands of
fashionable young things, beauty
shops sprang up everywhere. the
new technique of permanent waving
was immensely popular: American
women spent $250m on perms
alone during the 1920s.
The icons of the 1920s were
represented, again exclusively in
the cinema, by the up-front
sexuality of Jean Harlow, Clara Bow
and Mae West, together with the
“mysterious androgyny” of Greta
Garbo and Marlene Dietrich. The
theme of androgyny was to be
continually repeated throughout the
century, particularly in the 60s and
80s.
The Production Code enforced on
Hollywood films in the 1930s put an
end to the sexual content of the
films of the 20s, however tame,
including a ban on miscegenation.
Although sexuality was played
down, the change in content meant
that roles for women became more
realistic, resulting in the rise of
“wholesome” stars such as
Katherine Hepburn and Jean Arthur.
1930s fashion favoured tall women
with wide shoulders and narrow
hips, a type exemplified by Greta
Garbo. Hem-lines dropped and
waistlines returned to their normal
position, and the “erogenous zone”
shifted from legs to the back,
coinciding with the increasing
popularity of sunbathing.
World War II brought strict controls
on clothing production for the
following decade. The principal
1940s look was a practical and
masculine style (“the Utility Lines”)
with padded shoulders and knee-
length hem-lines. Shortage of
materials for stockings led to the
popularity of trousers for women. In
the late 40s, as a reaction to
wartime austerity, Christian Dior
launched the “New Look”, with
corseted waists, padded hips and
billowing skirts, using far more
fabric than most women's rations
would allow. Despite its exclusive
nature, Dior's look revolutionised
fashion and influenced the return to
overt femininity in the next decade.
The cinema continued its influence
throughout the war years; icons of
the 40s were as diverse as Vivien
Leigh, Joan Crawford, Bette Davis
and Rosalind Russell.
Fashion in the 50s was divided
between the sophisticated
Chanel/Dior end of the scale, and
the newly invented teenage style.
The archetypal 50s teenage girl
wore tight sweaters, pointed bras
and circular skirts, with tight
trousers and Beatnik black
becoming de rigeur for both sexes.
Particularly in America, there was
an emphasis on conformity and
“flaw concealment” self-
presentation. This was especially
true for black women, who were
encouraged to look as white as
possible by straightening their hair
and lightening their skin.
Three of the major film stars of the
50s, Marilyn Monroe, Jayne
Mansfield and Kim Novak, were
blonde and extremely curvaceous,
harking back to the overt sexuality
of the 1920s stars. Contrast was
provided by the overtly non-sexual
Doris Day. The changing sexual
climate meant that Marilyn Monroe
was able to turn the discovery of
nude photos, taken before her rise
to fame, to her advantage. This
would not have been possible ten
years previously. In contrast to
Monroe, Grace Kelly realised every
little girl's dream of becoming a
princess, and embodied a demure
sophistication that made her a role
model for socialites worldwide. It is
interesting to note that the 1950s
also saw the introduction of both
the Barbie doll and Playboy
magazine.
The 1960s was a decade of
tremendous importance with regard
to the late 20th century perception
of beauty. The idea of beauty as a
“status characteristic” on an equal
footing with wealth and social
position has its roots in the 60s. This
is summed up by film director
Michaelangelo Antonioni's
description of his stars (e.g. David
Hemmings and Vanessa Redgrave
in Blow-up): “They are the heroes of
the age, they have invented the
new canons of beauty.” French and
Italian film actresses replaced
Hollywood stars as the chic role
models, and fashion models rivalled
film stars as the professional
“beautiful people.” Due to the
increasing focus on sexuality of the
decade, young people abandoned
rules of fashion which decreed
modesty and concealed the
imperfections of older people. The
most obvious example of this is the
mini-skirt, invented by Mary Quant
in 1964.
The obvious artifice of the 50s gave
way to a more “natural” approach
to personal appearance.
Nonetheless, the celebrated natural
look was no less contrived than its
50s counterpart. In The Truth About
Modelling, Jean Shrimpton talks
about spending forty minutes
applying her “natural look” make-
up. Shrimpton, along with Twiggy,
epitomised a new kind of beauty
icon, the model-as-superstar.
Twiggy was naturally thin, but most
women had to struggle to achieve
the same look. Cosmetic surgery
became increasingly popular in the
modelling industry, with removal of
the back teeth and lower ribs
becoming common operations.
In the late 60s and early 70s there
was a marked decrease in the
presence of female cinema stars.
But this era also saw the beginning
of rebellion against “imposed ideas
of feminine beauty”. Individuality
was expressed in customised
clothes and the ethnic look. In the
early 70s, the futurism of the 60s
gave way to nostalgia. Long hair
and flared trousers were
compulsory for both sexes, and mini
skirts were replaced by hot pants
and ankle-length maxi-skirts. The
popularity of platform soles in the
mid-70s resulted in thousands of
sprained ankles in the name of
fashion, a performance that was
repeated two decades later by the
daughters of 70s fashion victims.
The late 70s saw the abolition of
flared trousers and long hair under
the influence of punk. A watered-
down version of the punk aesthetic,
combined with the influence of
Japanese designers such as Kenzo
and Miyake was to be the fashion
template for the following decade.
The health and fitness boom also
has an enormous influence on 80s
fashion, producing leotards, ra-ra
skirts, leggings and tracksuits. The
popularity of careerism and power-
dressing in the 80s saw women
adopting the dress codes of men in
the workplace. The 80s equivalent
to Grace Kelly was Princess Diana,
who was even more demure, more
sophisticated and more emulated
than her 50s counterpart.
Towards the end of the 80s, the
underwear-as-outerwear look
popularised by Madonna, Cher and
Kylie Minogue found its way into
mainstream fashion, where it would
remain well into the 90s. Madonna
symbolised the archetypal 80s
woman: undeniably sexual and
feminine, yet successful and in
control. Kylie, on the other hand,
had to drop her girl-next-door image
and transform herself into
TFR4“sex-Kylie” before becoming a
bona-fide icon.
The 20th century's unbreakable link
between beauty and success was
consolidated in the 80s. This
phenomenon was illustrated in a
survey published in the Journal Of
Applied Social Psychology in 1983.
Participants were asked to match up
women of varying degrees of
attractiveness with jobs that they
deemed suitable. Not only did
attractive people receive a more
positive response, but
recommendations for their salaries
were higher.
Although female curves enjoyed
something of a comeback in the
80s, the obsession with fitness
reinforced the thin-is-beautiful
mythology. This culminated in the
early 90s, with the underweight
“waif” look, epitomised by Kate
Moss, at the height of its popularity.
Arthur Marwick states in Beauty In
History that “anything which ...
draws attention to mortality is very
definitely not beautiful.” This does
not take into account the 1990s
fascination with underweight
models and “junkie chic”. However,
there is a marked difference
between the body types of women
who appear in fashion magazines
and those who appear in men's
publication and pornography. As
Kathy Myers points out in Looking
On: “There is an overall tendency to
market `fleshier' women to men and
thinner, sometimes sexually
androgynous images of women to
female audiences.”
By 90s standards Marilyn Monroe,
the archetypal beauty icon of the
1950s, would be considered fat. Yet
the average size of women in
Europe and America had risen
sufficiently by the 1980s to prompt
clothes manufacturers to alter their
sizing systems. There seems to be a
link between accepted body weight
and periods of prosperity.
Curvaceous women were
fashionable in the 1950s, when
economics were still recovering
from World War II, whereas thin
women became more fashionable in
the more prosperous 60s.
The popularity of cosmetic surgery
among ordinary people has
continued to increase within the last
decade. 60,000 people in Britain
every year avail of plastic surgery,
the most popular operations being
breast reduction and augmentation,
liposuction, wrinkle removal, chin
reduction, cheekbone implants and
lip augmentation. French
performance artist Orlan has turned
plastic surgery into an art form by
using her face as a canvas for a
portrait, using “the chin of Venus ...
the brows of Mona Lisa”.
The 1990s are primarily defined by
their magpie-like theft of the styles
and music of other decades.
However, the “retro-chic”
phenomenon is not a new one. One
only has to look at examples such
as the 1920s revival in the 60s and
the 1950s revival in the 70s to
realise that popular culture has
always had a penchant for
nostalgia. The Victorian fascination
with classical Greek and Medieval
styles is an even earlier example.
A legacy of the punk era that will
certainly help to define 90s beauty
in the future is the widespread
acceptance and popularity of body
art. An edition of Channel 4's
Feminism In The 90s in July 1994
featured women with tattoos and
body piercings who described body
art as a medium of self-expression
and a facility for a feeling of control
over their bodies. One woman
pierced her nipples after completing
breastfeeding as “a symbolic act of
taking back that part of the body
they had given to their child.” The
transformation in the general
public's opinion on body art can be
 likened to the widespread
acceptance of cosmetics in the early
part of the century.
To conclude, the predominant
feature of beauty in the 20th
century is not the constant change I
have described above, but the
constant importance of outward
appearances in so many women's
lives, even those who reject 20th
century cultural norms. The
escalating growth of the fashion,
cosmetics and cosmetic surgery
industries is a testament to Western
society's obsession with being
beautiful. And because beauty is
irreversibly linked with success in
the Western psyche, out obsession
with physical attractiveness looks
set to continue into the next century
and beyond.
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The Difference Between Fashion & Style

In her book, Homer makes the points out that the fundamental difference between style
and fashion is longevity. Whilst designers make sartorial crimes of last year’s fashion,
(taking their inspiration from previous decades in approximately 20-year cycles,) classic
style endures way past this season’s designer IT dress. In the words of Coco Chanel,
"fashion fades, only style remains the same.”
Designer clothes are marketed to women as images of a perfect life, says Homer. When
you shop you are buying into a lifestyle. Buying designer does not always buy you style.
A better fabric, probably yes, but ostensibly you are buying the label and paying for
design expertise. This does not guarantee you instant chic or elegance, style is not a coat
you wear, but comes from within. There are good and bad clothes in every shop, whether
they be high fashion or high street.

Read on
• How to Be Glamorous and Chic
• The Little Black Dress — Classic Wardrobe Staple
• Halloween Costume Ideas 2010 — Fashion Icons
According to Victoria Beckham in her latest book “That Extra Half and Inch”, (2007),
“Whether you’ve got £20 to spend in Top Shop or £2,000 to spend at Gucci, looking good
isn’t about money, it’s about style, and style never goes out of fashion.”
What Every Wo
1900) Gowns were not so tight. They were lighter and airy.

19th Century Ladies Clothing & Garments

Chemise:A woman's one piece undergarment.

Corset:A stiffened undergarment worn for support or to give shape to the
waist and hips.
Petticoat: A skirt worn under a dress.

Pantalettes were the undermost garment a Lady would wear.

Unlike the plain knee length drawers, the pantalette was
longer in its leg length reaching passed the knee. It was
decorated with tucks and flounces. They were made from
Silk or Linen.
 Another undergarment worn was the a chimise
pronounced "shimmy". This was a loose
undergarment that reached below the knees. It had
a drawstring on the neckline and a button on the
drawers. The chemise was calf lengthed and often
had embroidered hems.

Next was the corset. She would put the corset on over the
chemise. The corset itself had many designs. It was
designed to give shape to the hips and waist. And to lift
the bust area with support. It may have been a simple
design with a little embroidery and lace. It tied in the back.

She then put on the petticoat. How many petticoats she

wore was often determined by the temperature and the season. If it was
summer she may only wear one. But in the bitter cold temperatures of
winter many women wore five or six petticoats under their dresses.

In the mid 1850's the hoops became popular to

wear. After having put on the chemise, corset, and
petticoat the 19th century lady would put on the
hoop skirt. Some of the these were made with thin
steel wire and other materials. Over the hoop she
would wear her finest petticoat with pretty lace and
embroidery on the hem. Finally, after layering
herself with the undergarments she would then put
on the dress. And last but not least, a lady always
wore her gloves and her bonnet.

The diagram to the left shows the increasing relative skirt length
with the increasing of age. This was thought proper for young
girls as they approached womanhood. Most children were
allowed to wear clothing that came just below the knee. But as
they progressed in age so did the length of their clothes.
 These are color plates depicting styles of ladies dresses
from the middle of the 19th century. As they often
revealed stylish clothing not everyone could keep up with
the latest fashion. These were more of what women of
that era wished to be wearing rather than what they were
wearing.

Actually, women of that era were

much like women of today. Always looking
for the newest fashion at an affordable price.

It wasn't until later in the 19th century that dyes

for clothing were richened and clothes tailor made. Ladies were able to get
less expensive replicas of designer dresses made. To the left another
color plate of a fashion made to advertise for women's latest fashions.

Time Line for 19th Century Ladies Fashion

(1825) The large puffed sleeves were fashionable from 1825-1840.

(1825-1850) The Romantic Era

(1840) Stiff horse-haired petticoats were sold.

(1850-1870) Hoop Era.

(1856) The Hoop became popular for ladies to wear.

(1873) The First Bustle was born.

(1887) The bustle grew very great in size.

(1890) Belle Epoque period

(1895) The bustle had all but disappeared and the fashion of puffed
sleeves had returned from the 1830's.

(1900) Gowns were not so tight. They were lighter and airy.

Corsets and Health

Ladies experienced many health problems associated to

the corset. It was not so much the design as it was
women's desire's to be thinner than they really were.
Ladies started wearing the corset at a young age, while
they were yet teenagers and still developing and growing.
The corset tightly squeezed the inner organs together.
This caused some problems in childbirth. Others included
digestive problems. Their stomach did not digest food the
way it should and women died because of complications
during childbirth. This was a tendancy with women who
attempted to get their waists as small as they could.

Mourning Apparel

To pay proper respect to the deceased in one's family a

Lady would get out her black crepe dress. This was worn
during mourning which could be twelve to eighteen months. Dull black
gloves were worn as well in first mourning. Later on, during the mourning
period, the lady could wear black silk, granadine and other, more elegant,
materials instead of crepe. It was considered honorable and proper to
follow this dress code when in mourning.

A Pioneer Ladies Life

And Her Family's Clothing

19th Century Boys and Mens fashions

Courtesy of Victoian Fashion Links

The Fauntleroy suit for boys became the
style during Victoria's reign. It's most
distinguishable characteristics was marked
by a detailed lace collar with a smock that
hung down passed the knee. Black
stockings were worn with this outfit and
later white would be worn. Fautleroy suits,
pants and jackets, were made of velvet
and silk and had embroidery. Silk was
used in these costumes for sashes, cuffs and collars. One of the most
popular accessory worn with these suits was the endearing sailor hat. At
first, the idea of boys wearing velvet, silk and lace was hard for many to
accept but this style became popular anyhow. As time passed simpler and
plainer versions of this suit was worn. Of course, not all boys dressed this
way. Farmers sons dressed in country fashions.

Buster Brown suits were worn between the ages of 5 and 8

and sometimes at older ages. This style became popular
near the end of the Victorian Era. The smock-like suit had a
short smock and bloomer pants above the
knee with long stockings. The short pants
were shorter than that of the Fauntleroy
Suits. Large bows were often worn with
these suits.

A gentleman was always seen wearing the best attire.

With his wool evening tail coat or Double breasted suit
he wore his charming top hat. The suits sported wide
lapels during the early Victorian Period. White shirts
were worn with the stiffened collars high about the neck during the 1830's.
It wasn't until 1840 that men wore their collars down. Shirts were made of
linen or muslin. A roll collar vest went over the shirt. It was made of either
wool, linen, muslin or silk.

Court dressing was a formal style of dressing for men. But, later in the mid
1800's, country dress became a more comfortable style of clothing. The
wardrobe consisted of a short-tailed jacket, riding hat (top hat), vest and
boots. This outfit could be worn when riding horseback. Top hats were
worn with formal and country suits. In any case, country suits were easier
wear for men of that time.

Towne Victoran's
History With Charm
Webring

Chopin's Nocturn 37-2

Sources:

Harper Bazaar
Victorian women's Fashion in America
Hope Greenberg of University of Vermont
Victorian Fashion Links
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