Fashion History Timeline
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Fashion History Dictionary

To find a specific term more quickly, click on the relevant letter button below.
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adinkra

adinkra

agal

agal

Akwete

Akwete

aniline dyes

aniline dyes

anorak

anorak

back apron (negbe)

back apron (negbe)

backstrap loom

backstrap loom

banyan

banyan

barbette

barbette

bark cloth

bark cloth

beadnet dress

beadnet dress

bloomers

bloomers

bogolanfini

bogolanfini

bombast/bombasted

bombast/bombasted

boubou

boubou

buff coat

buff coat

bum roll

bum roll

burqa

burqa

busk

busk

bustle

bustle

cage crinoline

cage crinoline

caraco

caraco

carrick coat

carrick coat

chantilly lace

chantilly lace

chaperon

chaperon

chemisette

chemisette

chiton

chiton

chlamys

chlamys

chopines

chopines

clavus/clavi

clavus/clavi

clocks/clocking

clocks/clocking

cochineal dyes

cochineal dyes

codpiece

codpiece

cuirass bodice

cuirass bodice

dagging

dagging

dalmatic tunic

dalmatic tunic

dashiki

dashiki

dentalium cape/dress

dentalium cape/dress

doublet

doublet

échelle

échelle

exomis

exomis

eye of Horus

eye of Horus

faience

faience

falling band

falling band

fibula

fibula

fichu

fichu

fontange

fontange

French hood

French hood

frock coat

frock coat

frogging

frogging

gabled hood

gabled hood

gigot sleeve

gigot sleeve

guipure lace

guipure lace

himation

himation

huipilli/huipil

huipilli/huipil

jerkin

jerkin

justaucorps

justaucorps

kaftan

kaftan

katazome (stencil printing)

katazome (stencil printing)

kaunakes

kaunakes

kente

kente

knickerbockers

knickerbockers

kohl

kohl

labret

labret

leg-of-mutton sleeves

leg-of-mutton sleeves

love lock

love lock

Lurex

Lurex

mantua

mantua

Medici collar

Medici collar

moccasins

moccasins

muff

muff

mule

mule

muslin

muslin

needle lace

needle lace

nemes headdress

nemes headdress

panes/paning

panes/paning

panniers

panniers

pantalettes

pantalettes

particolored

particolored

passementerie

passementerie

pattens

pattens

pelete bite

pelete bite

pelisse

pelisse

peplos

peplos

pillow/bobbin lace

pillow/bobbin lace

pinafore

pinafore

poke bonnet

poke bonnet

polonaise

polonaise

pomander

pomander

poulaine

poulaine

raffia cloth

raffia cloth

rebato

rebato

robe à l’anglaise

robe à l’anglaise

robe à la française

robe à la française

robe en chemise

robe en chemise

robe volante

robe volante

roses / rosettes

roses / rosettes

ruff

ruff

schenti

schenti

shirtwaist

shirtwaist

skeleton suit

skeleton suit

slashing

slashing

Spanish cape

Spanish cape

Spanish farthingale

Spanish farthingale

spencer jacket

spencer jacket

stomacher

stomacher

tablion

tablion

toga

toga

toga picta

toga picta

tricorne hat

tricorne hat

tupu

tupu

vest/waistcoat

vest/waistcoat

wampum

wampum

Wellington boot

Wellington boot

Recent Essays

  • 1869 – Red Silk Dress
    In 1860-1869, 19th century, garment analysis
  • katazome (stencil printing)
    In 18th century, 19th century, ancient, Asia, K, P, S, term definition
  • 1905 – André Derain, Lucien Gilbert
    In 1900-1909, 20th century, artwork analysis
  • Inès Gâches-Sarraute and the Straight-Front Corset
    In 1890-1899, 1900-1909, 1910-1919, 19th century, 20th century, thematic essays
  • 1906 – John White Alexander, Study in Black and Green
    In 1900-1909, 20th century, artwork analysis

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In honor of the passing of Paco Rabanne, we’re h In honor of the passing of Paco Rabanne, we’re highlighting his career and his influence on 1960s fashion with his space-age aesthetic that became very popular during the decade. Rabanne was fascinated by industrial design and plastics, and started out as a jewelry designer, selling to famous designers such as Balenciaga, Schiaparelli, and Givenchy. In 1966, Rabanne made his debut on the French fashion scene with a collection of garments made of unconventional materials including aluminum plates joined by metal rings, plastics, and papers. The show shocked and awed the fashion industry, and his chain-linked mini dresses became all the rage. His futuristic designs became associated with the popular space-age movement. His designs were worn by many celebrities including Jane Fonda for her movie Barbarella, and Audrey Hepburn in Two for the Road. He was very innovative in his material’s and used a new plastic called Rhodoid in developing his signature disk shape called “pacotilles”. He even collaborated with Scott Paper on a series of dresses made from their toilet paper. To this day, Rabanne and his work continues to be a source of inspiration for the fashion industry. Read more about space-age fashion at the link in the bio!
#fashionhistory #20thcenturyfashion #digitalhumanities #pacorabanne
The dashiki is a loose-fitting pullover tunic trad The dashiki is a loose-fitting pullover tunic traditionally worn in West African cultures that was adopted by African diasporic communities as a symbol of African heritage in the 1960s. It was then more widely worn as a popular item of “ethnic” fashion. The Encyclopedia of Clothing and Fashion offers a brief definition of the dashiki: “A pullover shirt usually sewn from colorful, African-inspired cotton prints or from solid color fabrics, often with patch pockets and embroidery at the neckline and cuffs. The dashiki appeared on the American fashion scene during the 1960s when embraced by the black pride and white counterculture movements. ‘Dashiki’ is a loanword from the West African Yoruba term danshiki, which refers to a short, sleeveless tunic worn by men.” Author Norma Wolff goes on to describe its origins and its rise in American culture: “The Yoruba dashiki was originally sewn from hand-woven strip cloth. It has deep-cut armholes with pockets below and four gussets set to create a flare at the hem. Similar tunics found in Dogon burial caves in Mali date to the twelfth and thirteenth centuries. In many parts of West Africa today such tunics are worn with matching trousers as street clothes. In the 1960s, the dashiki appeared in the American ethnic fashion inventory, along with other Afrocentric clothing styles, possibly from the example of African students and African diplomats at the United Nations in New York. Both sexes wear the shirt, and women wear short or full-length dashiki dresses.’’ A 1970 dashiki dress was designed and worn by Fath Davis Ruffins, curator of the National Museum of American History since 1981. She made a matching head tie to wear with it, which was a common practice. Jazz musician Eddie Harris wore a printed dashiki while playing saxophone at a performance in Hollywood, Florida in 1983. Dashikis can be made out of a wide array of fabrics including “African print brocade, silk, lace, suiting, or cotton fabrics.’’

#fashionhistory #digitalhumanities #africanfashion #dashiki
Ann Lowe’s 1953 wedding dress she designed for J Ann Lowe’s 1953 wedding dress she designed for Jacqueline Kennedy stunned the public with its intricate details and fashionable silhouette. However, Lowe was not credited properly until much later. The dress itself features 50 yards of ivory silk taffeta with a fitted bodice and full skirt that aligned with the popular “New Look” silhouette. The bodice has a portrait neckline embellished with interwoven bands of tucked fabric. The skirt has dimensional ruffles and circles which were achieved by using a sewing technique called “trapunto.” Jackie accessorized with a tiara adorned with orange blossoms, her grandmother’s lace veil, and a single strand of pearls. Her wedding ensemble is considered by some as one of the most iconic wedding looks of all time. Jackie’s mother, Janet Lee Auchincloss commissioned Ann Lowe to create the dresses for the entire bridal party. Lowe had been designing for the family for years, and even created Jackie’s debutante gown. Lowe’s immense talent helped her gain many other high profile clients. Unfortunately, this commission turned out to be a nightmare for her. Just 10 days before the wedding, a pipe burst in Lowe’s studio, ruining 10 of the 15 dresses—including Jackie’s. She and her employees had only 10 days to recreate what took them 8 weeks, and Lowe had to spend extra money, buy new materials, and hire extra help. Then, the day of the wedding, she went down to Newport, Rhode Island to hand-deliver the dresses, and the staff at the door insisted she enter through the back because she was a black woman. Lowe refused, and said she would leave with the dresses if she couldn’t enter through the front. Unfortunately, in interviews when asked about who designed her dress, Jackie just simply said “a colored dressmaker”, instead of giving Lowe proper credit. It is said that Jackie didn’t really like the dress because she preferred the stylistic sensibilities of French fashion. Nevertheless, this dress by Ann Lowe continues to be an iconic gown that everybody knows. Click the link in the bio to read more!
#fashionhistory #digitalhumanities #20thcenturyfashion
Davide Ghirlandaio was a 15th-century Italian arti Davide Ghirlandaio was a 15th-century Italian artist known for his mosaics and paintings. He was mostly commissioned for mosaics in cathedrals, but there were also paintings done for churches and for other patrons. Although there has been some confusion as to who created this portrait since Davide’s brother was also a painter, it has now been confirmed to be by Davide as it features left-handed brush strokes, exclusively done by Davide. Selvaggia Sassetti was the fifth daughter of Francesco Sassetti, an Italian banker, and her portrait was most likely painted in anticipation of her marriage. However, she appears younger in the painting, since it was commissioned three years before her actual marriage. Selvaggia wore a fitted, green silk gown with an attached translucent veil wrapped over her shoulder. The green gown is fastened with a black lacing in a simple criss-cross manner, which exposes an inner white blouse with compressed folds. Also, the shoulders have open seams in the tight fitting sleeves that, again, reveal the blouse underneath. Her gown has a rectangular neckline, exposing her neck and collarbone. She wears an eye-catching, bright red beaded necklace, perhaps made of coral, with a round gold pendant mounted with a red stone in the center, as well as two rose-shaped ornaments attached to the side with three pearls hanging from below. It stands out against her pale complexion and complements the green of her gown. Her dress appears to be made of watered silk, indicating she is a part of the upper class. Her father was a banker, therefore, he could afford to commission several paintings of her. Read more at the link in the bio!
#fashionhistory #digitalhumanities #15thcenturyfashion
Charles James’ 1955 “Butterfly” gown feature Charles James’ 1955 “Butterfly” gown features a body-conscious sculpted sheath and large bustle skirt, which is reminiscent of the tightly fitted bustle dresses of the early 1880s. The garment is perhaps one of his most notable pieces since it embodies his exquisite attention to detail and architectural capabilities within fashion. James often utilized similar fabrics in different colors or different fabrics in similar colors in order to display his expertise between form, color, and texture. The ‘Butterfly’ dress features a cream and brown palette and a pop of color in the purple tulle that makes up the billowing skirt. Made from silk chiffon, silk satin, and twenty-five yards of nylon tulle, the dress wrapped the wearer’s body in sensual femininity and extravagance. Weighing a total of eighteen pounds, the enormous bustle skirt moved swiftly with the wearer’s body and its satin side flanges emulate the beauty of a butterfly’s wings. To create detail on the body-conscious sheath of the “Butterfly” James used a labor-intensive tucking treatment also featured in his “Swan” gown. A wide satin band was utilized to control the volume and drama of the tulle bustle skirt, as well as seamlessly disguising the structural components of the dress. James often utilized similar voluminous shapes and construction methods, especially drapery, to achieve an elegant design that highlighted the feminine form of the wearer. Cinching the waist and featuring an explosion of tulle “wings” this garment transforms the wearer into a beautiful butterfly, which is similar to Dior’s infatuation with depicting women as flowers. James’ 1955 dress plays a significant role in the history of fashion, as it perfectly showcases the designers creative vision and architecture capabilities as well as being one of the first strapless dresses in couture. Read more at the link in the bio!
#fashionhistory #20thcenturyfashion #digitalhumanities
1770s womenswear simplified earlier fashions, lead 1770s womenswear simplified earlier fashions, leading to new styles that exemplified the casual aesthetic taking hold with increased use of cottons, wools, and linens demonstrating the popularity of informal ensembles. In this decade the heavily trimmed robe à la française fell out of favor to the robe à l’anglaise which was worn in England throughout the century as a more informal garment. This ensemble had a closed front opening which eliminated the need for a separate stomacher and the back panels were stitched down as far as the waist, continuing into the skirt. Another popular dress style was the robe à la polonaise. This 2-piece gown featured distinctive swags by looping up the skirt with interior ribbons or cords that were attached on the outside of the gown or below the waist. The caraco, a hip-length jacket worn with a petticoat, was once only worn in the privacy of one’s home, but eventually became acceptable for daywear in urban settings. Along with the introduction of informal styles were changes in fashionable textiles. Heavy, brocaded fabrics were traded in for silks that were more lightweight and simpler in design. Informal cottons, wools, and linens with block-printed designs were also popular. Read more at the link in the bio! 
#fashionhistory #digitalhumanities #18thcenturyfashion
The year 1868 saw many interesting trends for wome The year 1868 saw many interesting trends for womens’ fashion including skirts with long trains. The crinoline was falling out of favor with The New York Times writing: “Only ignorant women or vulgar now wear crinoline so that it can be detected.” In addition to long trained dresses, walking ensembles consisting of a skirt and paletot (jacket) became popular during this year as well. The waist of a paletot could either hang loosely or be close-fitted with a belt. Some walking ensembles featured quite short hems that revealed short ankle boots. During this time, the sale of ready-made dresses was in its beginning stages. Read more at the link in the bio!
#fashionhistory #digitalhumanities #19thcenturyfashion
A muff is a tubular padded covering of fur or fabr A muff is a tubular padded covering of fur or fabric, into which both hands are placed for warmth. Originally a purse and hand warmer in one, the muff was first introduced to women’s fashion in 1570, when fur trimming was becoming popular. Muffs in the 17th century were unisex but by the 19th, they were considered an accessory for feminine dress. Different types of muffs ranged from large down styles to small fur or velvet ones that matched the trim of the wearer’s dress. During the 1880s, a pocket for a card-case and purse was added into ladies muffs. As with many other elements of excess in womenswear, fur muffs became the subject of 18th-century caricature which mocked their immense size to the point where the woman in the drawing was completely covered by the muff itself. For the first two decades of the 19th century, muffs were considered an essential accessory paired with the thin chemise style dresses that were in vogue. The appeal of the muff lasted well into the 20th century. Muffs, fundamentally a practical accessory for cold winters, make regular returns to fashionability. In a contemporary digital age where hands-free options are considered a necessity, modern muffs are the chicest form of convenience. During fall 2014, accessories designers returned to the 16th century and reimagined muffs for the modern woman. Muffs that were reminiscent of fashionable centuries before made appearances in the fall 2014 collections of Balenciaga and JC de Castelbajac. Read more at the link in the bio!
#fashionhistory #digitalhumanities #19thcenturyfashion
The 1720s marked a distinct change in women’s si The 1720s marked a distinct change in women’s silhouettes from the 2 preceding decades as the robe volante became extremely fashionable. This style of dress replaced the mantua, which became completely out of fashion in France. The robe volante was characterized by its billowing shape, and hung loosely from the shoulders with the excess fabric arranged into flat sewn-down revers at the center front. These panels were set into wide box pleats, and the ensemble was typically seamed at the center from just below the waist to the hem. Elbow length sleeves were finished with fan shaped cuffs that were tightly pleated inside the bend of the arm and expanded outward from the elbow. Filling the front of the gown was the stomacher, pinned to the stays or laced with eyelet holes. A fashionable way to decorate a stomacher was with rows of bows decreasing in size from top to bottom known as an échelle. During this decade women’s undergarments consisted of a linen chemise, a boned corset, and the hoop petticoat, also known as a panier. The hoop was worn by all fashionable women and aided in blurring social class distinctions, promoting social climbing. Read more at the link in the bio!
#fashionhistory #digitalhumanities #18thcentury

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The Fashion History Timeline is a project by FIT’s History of Art Department. The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. Consistent with this mission, the Timeline’s written commentary, research, and analysis provided by FIT students, faculty, and other members of the community is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Unless specifically noted, images used in the Timeline are not subject to this Creative Commons License applied to the written work from the Timeline. While every attempt at accuracy has been made, the Timeline is a work in progress. If you have suggestions or corrections, please contact us.


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Research Sources

  • The Jazz Age: American Style in the 1920s (2017)
  • Hippie Chic (2013)
  • Addressing the Century Addressing the Century: 100 Years of Art and Fashion (1998)
  • 100 Dresses cover 100 Dresses: The Costume Institute, The Metropolitan Museum of Art (2010)
    Rated 5.00 out of 5
  • Paris Refashioned cover Paris Refashioned, 1957-1968 (2017)

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