Category: 1670-1679

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1670-1679

1670-1679, 17th century, decade overview

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1678 – Eglon Hendrick van der Neer, Judith

1670-1679, 17th century, artwork analysis

Van der Neer’s Judith represents a 17th-century vision of a biblical character and is full of ravishing contemporary fashion detail.

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Christian Dior’s 1948 ‘Eugénie’ ball gown d

Christian Dior’s 1948 ‘Eugénie’ ball gown designed for his ‘Zig Zag’ collection, proves to be a frothy, feminine gown which draws upon 19th century inspiration all while keeping in line with his famous New Look. The dress is made from blush-pink nylon featuring a tiered bell-shaped skirt that lengthens towards the back in what is called the ailée line. The sleeveless bodice is boned in order to maintain a smooth shape at the top with a tight waist. The lace detailing along the sweetheart neckline are kept in place with wire stays. This proves to be of interest because even though the gown itself appears light and soft, multiple elements are securely fastened in place. This way Dior was able to achieve a clear silhouette, while maintaining an airy and feminine effect. The gown draws inspiration from not only mid 19th century crinoline styles, but also Empress Eugénie de Montijo, who was one of the most influential patrons of French couture in the 1850s. Dior was also inspired by Franz Winterhalt’s romantic paintings of the Empress’s court. His ‘Zig Zag’ collection emphasized asymmetry, with many of these dresses featuring ruffling or shirring as details, which reached extreme popularity. His New Look placed emphasis on conventional, historical feminine styles, but also gave it a refreshing modern twist with asymmetry. Dior’s willingness to take risks contributed to the revival of French haute couture, and gave him a dominant voice in fashion. Read more about our newly published article at the link in the bio!

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This day dress from 1870 is made entirely of a vib

This day dress from 1870 is made entirely of a vibrant green silk printed with an abstracted floral ditsy pattern in a darker shade of green. Following trends of the period, the dress features a bustled silhouette that’s straight in the front with added volume at the back. Trimmings in the same green hue as the fabric adorn the sleeves, waist, skirt, princess lines, and neckline of the dress. The trims themselves are made of rows of tassels beneath ruched strips of fabric culminating in bows at the elbows and back of the waist. The garment features a deep V neckline finished with rows of tassels in order to emulate a vest. Buttons with passementerie of the same shade of green as the dress are positioned along the center-front of the garment. Like other highly fashionable dresses during the late 1860s and early 1870s, this dress features a large bustle in the back overlaid with voluminous folds of fabric. Creating an illusion of a vest on a dress rather than wearing separate garments was similarly popular for the time. Fashion periodicals and plates from the 1870s depict dresses with buttons, lapels, and other elements of waistcoats on numerous dresses. Combining numerous trims on one dress was also considered fashionable. Tassels and fringe, particularly, were utilized at the time and were sometimes specifically dyed in order to match the garment’s main fabric. On occasion, trims of contrasting color were used in order to create a more dramatic look when placed on top of the garment’s main fabric. Although black was considered to be the most fashionable color during this period, deeply-saturated jewel tones came in a close second. Cyprus green was reported in a November 1969 publication as one of the most popular colors of the season. The creation of aniline dyes enabled fabrics to be produced in a wide range of bright colors, including this popular green shade. Read more at the link in the bio!

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Fashion during the 1960s became progressively more

Fashion during the 1960s became progressively more casual across all genders and ages. Broadly categorized, there were three main trends in 1960s womenswear including the lady-like elegance reminiscent of First Lady Jacqueline Kennedy, the youthful designs popularized by Swinging London, and the Eastern-influenced hippie styles of the later part of the decade. During the earlier part of the decade, silhouettes and styles continued along the lines of the 1950s. First Lady Jacqueline Kennedy epitomized the look of the early 60s during her husband’s presidential campaign and short presidency. Jacqueline’s look was produced by couture designers such as Hubert de Givenchy and Cristóbal Balenciaga. At the same time, Swinging London had begun in 1955 and reached its zenith in the early-to-mid 1960s. Swinging London was focused on youth, music, and fashion. Associated with the movement is model Twiggy and bands such as The Beatles and The Who. Leading the way in the ‘youthquake’ was British designer Mary Quant who was credited with introducing the mini-skirt. Additionally, Quant’s designs were simple, colorful, and fun therefore appealing to a younger generation who were opposed to the ‘stuffy’ styles of their parents. Quant opened her first boutique ‘Bazaar’ on King’s Road in Chelsea in 1955, reflecting the thriving boutique culture that’s associated with Swinging London and 1960s fashion. Boutiques not only offered more accessibility to clothing but created a frenetic and social atmosphere where modern music was played and young owners and customers interacted. The 60s were also associated with ‘Space Age’ designers such as André Courrèges and Pierre Cardin who utilized new and unique materials such as PVC in order to create space-travel and astronaut inspired clothing. It was towards the end of the decade that the mini-skirt began to lengthen again to reflect the ideals of the ‘hippie’ aesthetic characterized by suede, headbands, kaftans, beads, and loose, flowing skirts. Read more at the link in the bio!

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This intricate portrait of Dido Elizabeth Belle Li

This intricate portrait of Dido Elizabeth Belle Lindsay and Elizabeth Murray by David Martin, previously thought to have been created in 1778, has left historians questioning the true date due to the childish and out-of-date fashion choices more appropriate for the 1760s. The two were cousins and lived with their uncle Lord Mansfield. They are quoted in sources as enjoying each other’s company, and it was clear that Dido was extremely loved and accepted within the household. Mansfield was protective of her, clearly stating in his will Dido was a free woman. Some historians argue whether Martin has painted the two girls as social equals or not. In the 19th century many viewers thought this was a portrait of a mistress and her servant; however, the truth is that Dido was a gentlewoman in high society England. Other historians have read their poses and expressions as sisterhood and companionship, Dido being depicted with equal status to her cousin, as she is also looking straight at the viewer. Dido’s playful smile and childish pose further suggests that the painting was done in the late 1760s, as she would have been around 8, instead of 18 in 1778. She wears a white silk satin wrapper with matching turban and an ostrich feather. Fashionable turbans were derived from Turkish and Indian menswear, but became separated from their true meaning and culture of origin. Ensembles like hers were typical in portraiture to add elements of fantasy and exoticism. It is likely Martin chose this outfit for her to add a whimsical feeling, instead of her choosing it herself. Elizabeth Murray is shown wearing a typical child’s ensemble of the late 1760s, adding further speculation of the true portrait date. Her dress features a bibbed apron with a transparent overlining, which would be deemed too childish for an 18 year old woman (her age in 1778). If the portrait is truly from the 1770s, the girls were purposefully painted to look childlike. However, it is likely from the 1760s, with the 2 being children at the time. Read more at the link in the bio!

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Created in 1973, this look consists of a blue wash

Created in 1973, this look consists of a blue wash denim leisure suit of a matching jacket and pants. The jacket is adorned with four round flap cargo pockets and finished with traditional denim top stitching and a self placket belt panel. Bill Kaiserman, the designer behind Rafael, created clothes that became the standard in the American fashion market. Originally a retail salesman turned hatmaker, Kaiserman influenced the fashion world by introducing the leisure aesthetic to the American fashion market during the early 1970s. Kaisermam’s menswear concept was his greatest contribution to fashion and he opened up greater boundaries for menswear as a whole. Informal suits made of unconventional materials appeared in the west coast of the US as early as the late 1930s as summer casual-wear for the wealthy. The term ‘leisure suit’, though, was first used in 1975 and defined as a suit of a shirt jacket and matching trousers intended to be worn for informal occasions. It was during the 1970s that denim made its debut as a suiting material and the ‘leisure suit’ had similarly become a fixture of the fashionable man’s wardrobe. Leisure suits consisted of relaxed, elongated jackets often paired with flair pants. Rafael’s all-denim leisure suit was a homage to Yves Saint Laurent’s unisex safari suits and jackets. Kaiserman’s leisure suit was featured in the Museum at FIT’s 2015-16 exhibition, “Denim: Fashion’s Frontier” but the legacy of his 70s leisure suits is visible in contemporary designers of today’s fashion industry. With the trend of ‘neo-retroism’ on the runway, designers continually reference the styles of the 60s and 70s within their collections, especially when denim is being used. Read more at the link in the bio!

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1867 womenswear saw an increasing popularity of pr

1867 womenswear saw an increasing popularity of princess-cut dresses, in addition to a greater emphasis on back volume as the crinoline made its exit. The princess style dress was showcased at the Exposition Universelle in Paris, and became one of the most fashionable garments that year. This type of silhouette did not have a waist seam because the body and skirt of the dress were cut together. Typically, the style was often worn relatively plain in the front and less full at the back. However, highly decorative double skirts were also quite fashionable, being embellished in various ways with trims and cuts with bows being one of the most popular elements. For evening dresses a common decoration was broad sashes of lace and ribbon starting from the front of the waist, tying into a large bow at the back. There was a specific vogue for white silk and white muslin over white silk, which were said to be two of the most fashionable materials of the year. Outdoor wear saw an increased fashionability for the paletot, a garment typically made from black silk worn with a ceinture (waistbelt). Generally, it was very short, worn either loose fitting or tight and square. Read more about 1867 trends at the link in the bio!

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The French hood was a woman’s headdress consisti

The French hood was a woman’s headdress consisting of a small, curved bonnet over a stiffened frame worn at the back of the head, exposing the hair. It was fashionable in the 16th century from about 1520-1590. As the name suggests, it is of French origin and popularized in England by famous women such as Catherine Howard and Anne Boleyn who frequently wore the headdress. In her portrayal of the latter in her film ‘The Other Boleyn Girl’, Natalie Portman dons the French hood in multiple costumes. Because of the cap’s placement on the back of the head, a chin strap was sometimes required to hold it in place. The hood was worn over a coif, a small cap of linen or silk which helped restrain the hair. A stiffened black flap at the back either enclosed the hair or was folded forward over the head; this straight edge projecting over the forehead was known as a cornet or bongrace. The black fabric at the back was sometimes pleated, but more typically was worn straight down. The English variation of the French hood was flattened across the head, projecting wide at the temples, then was turned in at an angle to cover the ears. Read more at the link in the bio!

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This 1953 Sophie of Saks Fifth Avenue black cockta

This 1953 Sophie of Saks Fifth Avenue black cocktail dress is studded with sequins and rhinestones in order to give the impression that the dress is covered in stars. Sophie Gimbel was an American fashion designer who took over for Saks Fifth Avenue’s salon, Salon Moderne, in 1929. Gimbel was well known for designing high-end, ready-to-wear clothing that followed the hourglass silhouette popular at the time. The 1953 garment features three-quarter length sleeves, a full skirt with a zipper front, a deep v-neck, and an hourglass silhouette. Typical of the time, Gimbel’s dress reflects Christian Dior’s ‘New Look’ silhouette that gained popularity in the late 40s and during the 50s. Gimbel’s garment also reflects the popularity of the cocktail dress with the rise of the cocktail party as an event in the postwar era. Despite the idea of the black cocktail dress having its roots in the 1920s, the postwar era was the first time the name ‘cocktail dress’ had come into existence. Black was considered a popular color for cocktail parties in both Fall and Winter. Cocktail attire in the 1950s was heavily dictated by societal regulations in terms of what was appropriate. The ideal cocktail dress was considered less elaborate than that of an evening gown but still more formal than day wear. Typical of cocktail attire, Gimbel’s 1953 dress features longer sleeves, a modest neckline, and limited ornamentation. Additionally, cocktail attire was distinguished from evening wear by being constructed in silk failles or satins rather than wool crepes or garbardines. The ‘little black dress’ for cocktail parties, embellished with sequins and other decorations continues to be popular today. Read more at the link in the bio!

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Ann Lowe’s 1966-1967 American Beauty dress embod

Ann Lowe’s 1966-1967 American Beauty dress embodies the dreamlike aesthetic of the frequently overlooked Black designer. The ivory silk faille evening gown reflects the creativity of Lowe’s designs as well as the popularity of simplified silhouettes during the 1960s. The gown features an empire waistline that swoops to the natural waist in the back, finished with a scooped neckline in the front and a lower scoop in the back that exposes the wearer’s shoulder blades. Lowe skillfully decorated the dress with flourishing vines and flowers made from silk, a typical design element in her various garments. The name for the dress, the American Beauty, is a reference to the use of silk flowers which resemble the American Beauty variety of the rose. The vines circle to the front of the garment and gather in the center back, covering up a series of pleats at the waist that gather to the floor. Lowe’s gown is particularly unique since floral embellishments were more typically subdued and flattened rather than crafted so three-dimensionally as Lowe did for her dress. The garment additionally represents Lowe’s mastery of the complex architecture of evening wear, supporting the piece with boning, cups, and several lines of elastic. The interior of the dress is lined with knit and has an interior petticoat that helps to hold the shape of the hem. Although the fashions of the 50s and early 60s are known for their more voluminous skirts, by the mid-60s a minimalist columnar shape took hold. The use of an empire waist and scooped neckline was particularly popular for the late 60s as well. Originally, the dress belonged to Barbara Baldwin Dowd and was worn as a debutante dress intended for a teenager. Over Lowe’s long career she designed a series of debutante and bridal gowns including that of First Lady Jackie Kennedy’s wedding dress. Read more at the link in the bio!

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