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.
Patrick Kelly was the first American designer ever to be admitted to the Chambre Syndicale du Prêt-à-Porter, which governs the French ready-to-wear industry. He unapologetically incorporated his Southern Roots, racial imagery, and expressions of Black joy into his designs; stating “I want my clothes to make you smile.”
Though he stands in the shadows, Mr. I. N. Phelps Stokes’ suit sheds light on significant developments occurring in menswear at the end of the nineteenth century.
By examining fashion modes, economical and societal fluctuations, and urban developments, this essay explores how New York City department stores changed from their initial founding as dry goods stores, developed through the turn of the twentieth century, and emerged in the interwar years.
Matilda Stoughton de Jaudenes, painted by Gilbert Stuart in 1794, is dressed extravagantly at the height of contemporary style.
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