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   in European and European-influenced countries continued the long
elegant lines of the 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full
"Gibson Girl" hairstyles. A new, columnar silhouette introduced by the 

 of Paris late in the
decade signaled the approaching abandonment of the corset as an indispensable garment of
fashionable women.

½


  


In the decline of the bustle, sleeves began to increase in size and the 1830s silhouette of an
hourglass shape became popular again. The fashionable silhouette in the early 1900s was that of
a mature woman, with full low chest and curvy hips. The "health corset" of this period removed
pressure from the abdomen and created an S-curve silhouette.[1]

In 1897, the silhouette slimmed and elongated by a considerable amount. Blouses and dresses
were full in front and puffed into a "pigeon breast" shape of the early 20th century that looked
over the narrow waist, which sloped from back to front and was often accented with a sash or
belt. Necklines were supported by very high boned collars.[2]

Skirts brushed the floor, often with a train, even for day dresses, in mid-decade.

Around 1908, the fashion houses of Paris began to show a new silhouette, with a thicker waist,
flatter bust, and narrower hips. By the end of the decade the most fashionable skirts cleared the
floor and approached the ankle. The overall silhouette narrowed and straightened, beginning a
trend that would continue into the years leading up to the Great War.

 



Unfussy, tailored clothes were worn for outdoor activities and traveling. The shirtwaist, a
costume with a bodice or À
 tailored like a man's shirt with a high collar, was adopted for
informal daywear and became the uniform of working women. Wool or tweed suit (clothing)
called tailor-mades or (in French) 
 featured ankle-length skirts with matching jackets;
ladies of fashion wore them with fox furs and huge hats. Two new styles of hats that became
popular at the turn of the century were the automobile bonnet for riding and sailor's hat worn for
tennis matches, bicycling and croquet.[3]
 
 V



This decade marked the full flowering of Parisian V 
 as the arbiter of styles and
silhouettes for women of all classes. Designers sent fashion models or   
 to the
Longchamp races wearing the latest styles,[4] and fashion photographs identified the creators of
individual gowns.[5] In 1908, a new silhouette emerged from Callot Soeurs, Vionnet at the house
of Doucet, and most importantly, Paul Poiret.[6] The styles were variously called 
,

 

, and 
 after the fashions of the turn of the nineteenth century, which they
resembled in their narrow skirts and raised waistlines.

The new styles featured form-fitting gowns with high or indefined waists, or ankle-length skirts
and long tunic-like jackets, and required a different "straight line" corset. The Paris
correspondent for 
 described this new look as "straighter and straighter ... less bust, less
hips, and more waist...how slim, how graceful, how elegant...!"[7]
   


This page explains the reasons behind the changes in both sleeve fashion and shoulder fashion in
the noughties. These changes are interesting and important as they provide elements of the
iconic silhouette for this era.


   

 

The fashion silhouette of any era is judged on many points; yet often one factor, such as the
flapper dress has that indefinable je ne sais quoi which captures the mood of a particular fashion
era. Right now the 'It' factor making headlines is the shoulder line, and this page examines how
the sleeve and shoulder has developed during this decade.

The interesting sleeves in the images right are courtesy of Swarovski (Topshop Unique), IFTF,
Dior 2008.


  



In the latter part of the noughties decade we have seen the sleeve and shoulder line become a
focus of interest on many garments. At the beginning of the trend we saw the the floppy over-
the-hand length, what happened next was the shortening of the standard sleeve to seven eighths,
and then three quarter length. This brought new focus to the wrist which soon became the new
erogenous zone of the early noughties. The wearing of noughties jewellery cuffs is directly
related to the visibility of the wrist.

As each new fashion season arrived so designers toyed with the sleeve length, they discovered
that by playing with the sleeve hemline, they could create a fresh youthful vibe undiscovered by
a whole generation or more. Soon everyone adopted the fad for three-quarter sleeves. Within a
short space of time the sleeve was cropped to elbow length, and some designers added a ruffle or
flounce frill.

The mass stores soon followed these sleeve trends and fashion history was made. By the 2008/9
season the shorter sleeve fashion was commonplace on both jackets coats and dresses. You can
see great examples in these three catwalk show images above, kindly provided by IFTF,
Swarovski and Dior from their 2008 archives.

The blouse left, with Edwardian inspired sleeves, was by Wallis and from their 2008 autumn
collections. But it shows how as the decade progresses so blouses and jackets had become more
feminine as glamour returned to dressing. Softness in dress began to challenge the studded
Warrior Woman space age metallic looks. You are reading an original article on sleeve fashion
and shoulders fashion silhouettes 2009-10 by Pauline Weston Thomas only for publication on

   


Surprisingly, the first really noticeable change for shoulders occurred with the pashmina. The
pashmina is a very useful warming cover-up when nothing more suitable can be found.
However, what sparked a change in shoulder fashion was when the pashmina moved from must-
have high fashion shoulder drapery to be referred to as a classic stole.

One of the trendsetters in changing shoulder fashion was bridal and evening prom wear.
Covering the shoulder up with a pashmina was no longer the aim. Exposing the shoulder
became a norm with prom bustier looks leading the way. By mid decade the pashmina had been
confined to a wardrobe's classics drawer, and the shoulder was very visible again. In this way the
shoulder sleeve silhouette slowly gained either physical width, or sleeve protrusion beyond the
normal armscye at the top of the armhole.

Another way that the shoulder line became more attention seeking was by the clear absence of
fabric. This was either in bustier prom dresses or bustiers. This was in total contrast to the late
90s and early millennium when the shoulder gained interest when the pashmina was acting as a
cover up shoulder focus. Now the new cover ups were cute jackets, shrugs, boleros and cropped
cardigans, or even full dress coats. Matching a dress with a jacket also made a return to formal
wear providing women with one of the most useful outfits of all time - the coordinated dress and
jacket coat.

These images are all archive Swarovski 2008, and you can see how designers play with the
sleeve fashion. The sleeve became a true area of silhouette interest that reached a new peak for
2009. Back in 2008 this change was evident in every area from evening wear to knitwear.

For autumn 2008 designers focused on shoulders and necklines with dresses like these. We've all
seen the real result and adoption globally after Michelle Obama wore a one shouldered gown at
the President of the USA Inauguration Ball in 2009. By 2009 one shoulder and one sleeved
dresses were a considered style for winter party dresses.

Catwalk images above courtesy of Swarovski, Dior - 2008.

The focus was also on the fuller sleeve. Even slimline sleeves began to show ruffles and frills,
greater bell wrist width, or interesting slashing with eruptions of contrast fabrics. Folkloric
elements brought the return of the full blouson peasant sleeve and manufacturers pounced on this
design concept. With this came the return of the blouse in its own right as a fashion garment, to
be paraded rather than a hidden element of a layered look.
Î
 

 
cc

T-shirt ketat yang memang menjadi trend pada suatu ketika dahulu, kini semakin lama semakin
longgar, kemeja yang benar-benar ketat kini kebanyakannya hanya nicely fit to body (bukan
besar). Adakah ini menandakan tahun 2011 semua item fesyen akan menjad lebih longgar,
termasuk seluar?

Oh«no.. I LOVE MY SKINNY JEANS. Tetapi hidup mesti diteruskan, jika cakerawala gaya
menyatakan skinny jeans mula tidak diterima,maka sudah tiba masanya CuteCarry tidak
membeli skinny jeans. Jika selalu membaca blog ini, jika ada yang perasan, CuteCarry punya
seluar semakin lama semakin longgar kan«

Drop crotch pants bermaksud seluar yang kangkangnya memang jatuh ke bawah. Trend terkini
ialah seluar akan menjadi lebih besar tetapi kebanyakannya akan lebih kecil di bahagian bawah.
Sepanjang tahun 2010, CuteCarry dah menonton berpuluh atau mungkin beratus fashion shows
dan daripada pengamatan, drop crotch pants are like everywhere!!!

Tetapi bukanlah semua orang sesuai memakai drop crotch pants. Ia adalah seperti berlawanan
dengan skinny jeans. Jika sebelum ini, hanya mereka yang berpunggung kecil ataupun sederhana
memang nampak menarik memakai skinny jeans/pants sekarang adalah SEBALIKNYA!
Terimalah balasannya wahai si punggung kecil /flat seperti CuteCarry, bentuk punggung
mungkin tidak berapa sesuai memakai drop crotch pants. Drop crotch pants adalah lebih sesuai
untuk mereka yang berpunggung sederhana/besar. BERITA BAIK,jika anda berpunggung besar,
drop crotch pants akan mengaburi mata orang ramai dan punggung anda lebih kecil! Tetapi yang
tidak berapa best ialah jika anda mempunyai kaki pendek,memang kaki akan nampak lebih
pendek!

Jika anda rendah, pakai pula drop crotch pants, makin rendang/ayam serama la jawabnya!

Jika nak pakai juga, mungkin dengan kasut heels yang paling tinggi, sepeti Gwen Stefani.

Kesimpulannya, pakailah pakaian yang betul, jangan jadi mangsa fesyen. Apakah CuteCarry
akan memakai drop crotch pants di tahun 2011?