During the Spring of 1915 Mme. Parisienne had decided that it was time to add some gaiety into her wardrobe. Since August of the previous summer there had been such bad news and although the rationing of fabric continued, there was still much available for the asking.
Click to read about the U.S. fabric rationing during W.W. II.
A Parisienne with a good many thoughts regarding menswear goes to some length to impart that men are dressing worse, not better, and the substitution of the dinner jacket (read: Tuxedo) for the tail-coat is an example of the slovenliness to come.
You are entirely wrong in imagining that we pay no attention to the way men dress…The truth is that while we may say nothing, we do not in the least consent, and we find, messieurs, that for some time now you have been very much changed, and for the worse.
Click here to read about the fashion legacy of W.W. I…
To read about one of the fashion legacies of W.W. II, click here…
Click here to read about the origins of the T-shirt.
The California fashion critic who penned this article believed that the fashions of Christian Dior stood firmly in opposition to the optimistic, Twentieth Century casual elegance of Claire McCardell (1905 – 1958) and Adrian (1903 – 1959). She could not bare Dior, with his vulgar penchant to spin
the feminine figure in the unconventional manner, trying to make her look good where she ain’t. He seeks the ballet dancer illusion – natural, rounded shoulders, too weak to support a struggling world…Her waist is pinched in an exaggerated indentation, the better to emphasize her padded hips…There are butterfly sleeves, box pockets, belled jackets, and barreled skirts, suggesting something like a Gibson girl, or whatever grandmother should have worn.
Click here to read a 1961 article about Jacqueline Kennedy’s influence on American fashion.
Attached herein, you will find the fashionable coats, suits, shoes and cufflinks for men from the harsh winter of 1919 that had been approved by the Fifth Avenue swells of the VANITY FAIR editorial department.
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In merely nine paragraphs the attached men’s fashion magazine article from 1950 outlines the style and fabric that was put to use in the manufacturing of men’s underwear between 1890 through the Forties (wool to nylon).
The deans who presided over Literary Digest made this article their lead piece, so urgent was the sensation that an onslaught of vengeful modernist women, so fleet of foot and irreverently unhampered by hanging hems and confining corsets, were approaching their New York offices as their first act in disassembling the patriarchy.
In the February of 1947, he opened eyes and mouths all over the world by showing almost-ankle-length daytime dresses. In the United States this length was christened the New Look. And Christian Dior had won, by inches the title, King of Fashion. His title is still secure. Dior designs accounted for an estimated 60% of total haute couture exports last year.
Unearthed by a team of underpaid urban anthropologists digging all hours in the skankiest and most vile of magazine repositories was this single page of feminine poesy representative of an obscure, forgotten genre of Twentieth Century prosody that celebrated a brash cast of woman that was once known as a Flapper.
Alas, the name of the poet has been lost to time.
They sip your favorite coffee, drive your dream car, display the latest fashions, show you how to cook a waffle: they are potent forces in the scheme of American advertising. Their faces and figures adorn the covers of countless magazines…often they develop into stars of the cinema. They come from all over America to an office on Park Avenue, New York, where a quiet, discerning man named John Robert Powers appraises their charms and schools them for the job of selling sables to society or groceries to the great American housewife.
Beginning in the mid-Twenties and spanning the years leading up to the late Forties, John Robert Powers (1892 – 1977) created and maintained the first modeling agency in New York City (if not the world) and during the Forties, the Powers Agency grossed over five million dollars a year. Attached are nine photos of the most popular fashion models he represented in 1941; a unique breed of woman known at the time as Powers girls.
