The design was created using pencil and watercolour, the bodycolour is on paper. This design for an evening dress is based on the previous sketch E.
A band of material falls vertically from the waist, creating a scalloped bottom edge on the skirt. A smaller pencil sketch to the right shows the back of the dress. There is a slight difference from the other design in the front drape and the different colour binding around the neck and the lower hip. This is a pencil drawing by Marjorie Field showing a woman in an evening dress with a red silk sample stapled to the page at the bottom right.
The dress is a good example of the padded, square-shoulder look that was fashionable in this decade. The dress draws particular attention to the waist which is adorned by a lower hip sash knotted in the front and falling loose to the hem.
Inscriptions on this design suggest that it was created for a 'Private Lives' collection. This is a fashion design depicting a woman wearing a tailored jacket over a below knees-length skirt and a hat with a ribbon slotting through from the inside to the outside in front, and carrying a bamboo-handled handbag.
Contrasting colours have been applied to the collar of the jacket and black lines have been drawn to describe darts and welt seams on the jacket. This is a fashion design shows a woman wearing a Cossack cap made of sheepskin fleece.
A smaller sketch to the right shows the crown of the cap with an oval-shaped cross band of stitching on it. In the s, she submitted a competition entry to the Ascher textile firm in London, who were renowned for working with fine artists to create patterns and designs for silk scarves and furniture fabric.
She won 3rd prize but worked for the Ascher Studio for a year and for many years as a free-lance designer. This bold and colourful board demonstrates the importance the designer gave to overall presentation. The folder is held together with a green velvet ribbon. Often associated with the rise of youthful, ready-to-wear fashions, the fifties were nevertheless a prolific and successful decade for the fashion 'establishment' as embodied by couture houses and traditional dressmakers.
Fashion illustration continued to flourish in the plethora of magazines published at the time. Sigrid Hunt later Roesen was a fashion illustrator and editor. She came to England from Berlin in the early s and worked for prestigious publications including Vogue, Tatler, and The Sketch.
The various preparatory phases shown for the Tatler front cover of 5 May here illustrated are a good example of the process and various stages of magazine illustration. Sigrid Hunt, pencil sketch, Britain, Front cover of Tatler, featuring design by Sigrid Hunt, 5 May Sigrid Hunt, colour design, Britain, Jean Demarchy dates unknown was a s fashion illustrator who worked in soft pastels to create romantic, abstract, images of couture. Arguably, illustrations such as these fitted better with the luxurious and feminine ideal of couture than photography.
These illustrations, especially from the Stiebel collection of , display some of those shared aesthetics in the way they convey the soft, tactile nature of the fabrics. However, the privileged status of fashion drawing faded rapidly during the s, and photography soon gained more prominence in post-war magazines that wanted harder-hitting imagery. It shows a glamorous evening dress by Christian Dior —57 , featuring a full skirt and elaborate bustle bow. Stiebel liked using bold, contrasting stripes in his designs, and also typically referenced historical dress with voluminous panniers and bustles.
Before the late s and s, teenagers were expected to dress and behave very much as their parents. The 'Swinging Sixties', however, saw the emergence of a new youth market as teenagers rebelled against the aesthetics and values of their parents' generation and established their own trends in fashion and music.
Amongst other things, the mini-skirt was introduced, and couture was seen as very old-fashioned. London - not Paris - was leading fashion now, nurtured by the city's fashion schools and colleges, who were providing creative environments for crops of young, talented designers.
There she met Alexander Plunket Green, who later became her business partner and husband. Apprenticed to a milliner, Quant began to make her own clothes.
These were influenced by the Chelsea beatniks she knew and dance outfits she remembered from childhood lessons. In , at a time when 'fashion wasn't designed for young people', Quant opened Bazaar, a boutique on the King's Road.
She devised eye-catching window displays to attract customers. Her clothes were made up of simple shapes combined with strong colours like scarlet, prune and green. Prices were low compared to those charged for haute couture. Famed for popularising the mini skirt, in Quant was awarded an OBE. In the early s her designs were bought by the chain store J. Penney to be mass produced for the American market.
The Quant label began to appear worldwide on accessories and make-up. The skirt is very short and trimmed on the edge with a yellow colour. The same colour tights are worn. There is a small baby collar and a very narrow belt with a front buckle. Mini skirts and dresses were a highly fashionable new trend in the late s and continued for quite a while after this.
The top of the dress has a cow neck in yellow material inside and on the outside is beige with yellow. There is a matching head scarf, belt and cuffs. The sleeves are very short and bounded by glace kid red leather. The main dress is made out of pink Jersey wool. The collar and the front slit are all bounded by the same glace kid leather as the sleeves, the leather has brass eyelets to enable the threading of shoe lace type ribbon.
The s were a pioneering decade, and saw the evolution of fashion into a proclamation of individuality. Seen as the reflection of the taste of the wearer, one of the consequences of these sartorial changes, was that fashion increasingly, became the concern of men as well as women. The Ritva knitwear firm was set up by Mike and Ritva Ross in , producing revolutionary machine-knitted womenswear in bold colours and slinky shapes. These were sold in some of the most fashionable department stores and King's Road boutiques, and from , in the Ross's own shop.
Each sweater was unique, with its own colourway. This led to the Artist Collections of and , when Ross invited artist friends, including David Hockney and Elizabeth Frink, to design 'wearable works of art'. This coloured pencil drawing on paper includes an element of collage. One smaller piece of paper with a single drawing is mounted on a larger piece of paper with further drawings.
Drawings depict various versions of a pipe and breast pocket. One breast pocket drawing also depicts an image of a bird. Some annotations on black pencil, including the artist's name and title 'P C Manly sweater'. A prolific and innovative designer, John Bates b.
Norman Hartnell, who also created the Queen's wedding dress, was enlisted for the job. If the gown worn for her wedding was important, then this was an even greater task - it had to be a transcendental masterpiece that communicated all the correct messages about the royal's intent. The final gown required eight months of research, design and workmanship to make its intricate embroidery. The hard work paid off - the Queen was so fond of the dress that she wore it six times since including the Opening of Parliament in New Zealand and Australia in In , Hartnell published a memoir, Silver and Gold, about his extraordinary life as dressmaker to the royal family.
Now, the museum has made extracts from these remarkable books available online for free for readers to enjoy at home during the lockdown. One October afternoon in , Her Majesty the Queen desired me to make for her the dress to be worn at her Coronation.
I can scarcely remember what I murmured in reply. In simple conversational tones the Queen went on to express her wishes.
Her Majesty required that the dress should conform in line to that of her wedding dress and that the material should be white satin. It was almost exactly five years earlier that I had put the final touches to the dress which, as Princess Elizabeth, she had worn on the day of her wedding to the Duke of Edinburgh. I visited the London Museum and the London Library and leafed through authoritative tomes. After gathering all the factual material I could, I then retired to the seclusion of Windsor Forest and there spent many days making trial sketches.
My mind was teeming with heraldic and floral ideas. I thought of lilies, roses, marguerites and golden corn; I thought of altar cloths and sacred vestments; I thought of the sky, the earth, the sun, the moon, the stars and everything heavenly that might be embroidered upon a dress destined to be historic.
Altogether, I created nine differing designs which began in almost severe simplicity and proceeded towards elaboration. I liked the last one best, but naturally did not express my opinion when I submitted these paintings to Her Majesty. The Second was modern line, slender and slimly fitting, embroidered in gold and bordered with the black and white ermine tails of Royal miniver.
We won't let him down. Fellow designer Sir Paul Smith said: "He was really what you would describe as one of the few old school designers of clothes. In his early days he was very fashionable and among the few couturiers in Britain when it was dominated by the French. But he made clothes that suited her status, her stature and her physique. Sir Hardy was incisive in defending his designs. The son of a surveyor and a Mayfair dressmaker, he was educated at a middling public school, Brentwood.
Introduced to dressmaking by his mother's contacts, he set up his London fashion house after running a special forces mission to Belgium during the second world war. In the then Princess Elizabeth asked him to design day clothes for a tour of Canada. He recalled how one afternoon in , Princess Elizabeth confirmed casually that she wanted her coronation dress would conform to the lines of her wedding dress, which he had designed less than 5 years previously.
I visited the London Museum and leafed through weighty and authoritative tomes. Hartnell provided an amusing postscript in his biography Silver and Gold , where he was almost arrested on the eve of the coronation outside his own home. As I got home I did what so many passers by had been doing as a coronation souvenir.
I decided that I would like to have one of my own ermine tails, and actuated by a similar impulse I plucked one. Well, that means nothing to me. The inspector pointed a well polished shoe, thrust one hand deep into the pocket of his raincoat and, with the other, thoughtfully fingered his clipped moustache. Royal Chic — The Era of the Windsors. Share Pin Tweet.
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