The first fashion designer who was not just a dressmaker was (Charles Frederick Worth) (1826-1895). Before the former Draper created his "maison fashion" fashion house in Paris, fashion creation and inspiration was handled to a large extent by unknown people, and high fashion originated from the style worn in royal courts. The success of Price was such that he was able to dictate to his clients what they should wear, rather than following suit as earlier tailors had done.
It was during this period that many design houses began to hire artists to draw or write designs for clothing. Only images can be presented to customers at a much lower cost than producing an actual clothing sample in a workshop. If the client liked the design, they ordered it and the resulting clothing made money for the house. Thus, the tradition of clothing designers sketching designs instead of presenting completed garments on customer models began the economy.
Early 20th century
During the early 20th century, virtually all high fashion originated in Paris, and to a lesser extent London. Fashion magazines from other countries sent to editors showing Parisian fashion. Department stores sent buyers to the Paris show, where they purchased clothes to copy (and openly stole the style lines and trim details of others). Both bespoke salons and ready-to-wear departments featured the latest Paris trends, tailored to the stores' assumptions about life and pocket books of their target customers.
wawaAround the early twentieth century fashion magazines style began to include photographs and became even more influential than in the past. In cities around the world, these magazines were in high demand and had a huge impact on the tastes of the public. Talented illustrators - among them Paul Iribe, Georges Lepape, Erte, and Georges Barbier - Drew exquisite fashion plates for these publications, which cover the most latest events in the world of fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton which was founded in 1912 by Lucien Vogel and published regularly until 1925 (except during the war years).
1900
The outfits worn by fashionistas from the Belle Epoque (in which French was called) were strikingly similar to those worn during the heyday of fashion pioneer Charles Worth. By the end of the nineteenth century, the horizons of the fashion industry were generally broadened, in part due to the more mobile and independent lifestyles of many well-to-do women began to accept the practical clothes they demanded. However, La Belle Epoque fashion still persisted in the sophisticated, bland, hourglass style of the 1800s. The not yet fashionable lady will (or can) dress or undress herself, without the help of third parties. The constant need for radical change, which is now necessary for the survival of fashion within the existing system, was still literally unthinkable.
Conspicuous waste and ostentatious consumption defined the fashion of the decade and the couturier outfits of the time were incredibly extravagant, intricate, ornate, and painstakingly made. Curvy S-bend silhouette dominated fashion until around 1908. The S-bend corset was very tightly laced at the waist and therefore forced back by the hips and lowering the mono breasts pushed forward into action by the discontented pigeon man creating the S shape. Toward the end of the decade, the fashionable silhouette gradually became somewhat straighter and thinner, partly due to Paul's high waist Poiret, in a short skirt Directory clothing line.
Maison Redfern was the first fashion house to offer women a suit based directly on its male counterpart, and extremely practical and soberly elegant clothing soon became an essential part of any well-dressed woman's wardrobe. Another essential piece of a well-dressed woman's outfit was a designer hat. Fashionable hats at that time were either small confectionery that sat on the top of the head, or large and wide brim, trimmed with ribbons, flowers, and even feathers. Umbrellas are still used as decorative accessories and in summer they are dripped with lace and added to the overall sophisticated prettiness.
1910
In the early years of the 1910s, the fashionable silhouette became much more flexible, fluid and soft than in the 1900s. When the Ballets Russes performed by Scheherazade in Paris in 1910, a craze for Orientalism followed. Couturier Paul Poiret was one of the first designers to translate this fashion into the fashion world. Poiret's clients were immediately transformed into harem girls in fluttering knickers, turbans and bright colours and geishas in exotic kimonos. Paul Poiret also designed the first outfit that women could put on without the help of a maid. The Art Deco movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simply fedoras, turbans, and clouds of tulle replaced the styles of headwear popular in the 1900s. It should also be noted that the first real shows were organized during this time period, by the first female couturier, Jeanne Paquin, who was also the first Parisian couturier, to open overseas branches in London, Buenos Aires and Madrid.
Two of the most influential modes of reflected light. His esteemed clients have never lost their taste for his fluid lines and flimsy, transparent materials. While obeying imperatives that left little to the imagination of the couturier, Doucet is nevertheless a designer of great taste and discrimination, a role many have tried so, but rarely with Doucet's level of success.
Venice-designer Mariano Fortuny Madrazo had a curious figure, with very few parallels at any age. For his dress designs, he conceived a special pleating process and new dyeing techniques. He gave the name Delphos to his long cling sheath dresses that wavy with color. Each piece of clothing was made from a single piece of the finest silk, its own unique color, acquired by repeated dipping in dyes whose hues were indicative of moonlight or the watery reflections of the Venetian lagoon. Breton straw, Mexican cochineal and indigo with Far East were among the ingredients used by Fortuna. Among his many devotees were Eleanor Duse, Isadora Duncan, Cleo de Merode, the Marchioness of Casati, Emilienne d'Alencon, and Liane de Pougy.
This period is characterized by a feverish search for new expressive means and forms. The fashion of that time reflected current political problems, the development of social movements, the struggle of women for equality. Russo-Japanese War and the rise of colonialism brought exotic elements into fashion.
New images of the decade are built on the elements of pre-war fashion. Despite the economic crisis, rising inflation and an acute shortage of fabrics and accessories, they amaze with their luxury.
Social events of the period 1910-1920, which most influenced the development of fashion:
First World War 1914-1918
Silhouettes 1910-20:
Disappeared:
Corsets.
"Limping" skirts.
Complicated hairstyles.
Big hats.
Embroidery, applique, lace.
Skirts have been shortened.
Appeared:
Functional details of military clothing: high “aviator stands”, patch pockets, turn-down collars (like jackets).
Suit: Wide skirt with front closure + baggy jacket with patch pockets and turn-down or aviator stand collar.
Puffy skirt + jacket in military style - with an abundance of lacing, high shaped collars, strict lapels, metal buttons.
Handmade knitwear-jackets, cardigans, jumpers, scarves, hats.
Casual dresses reached only to the calves and are worn with high lace-up boots.
Peplums (an addition similar to a small skirt, previously sewn to a men's doublet or vest, later to a women's bodice, somewhat lengthening clothes below the waist line). Another name: bass.
Barrel silhouette.
Gaiters, felt hats, scarves.
Short hair for women.
Everyday haute couture was influenced by military uniform. In elegant models, elements of pre-war fashion were preserved:
Turbans with aigrettes of feathers.
Dresses in oriental style with a high waistline (their skirts have become wider and shorter).
"Military crinolines" - wide bell-shaped skirts, the tailoring of which took a lot of fabric. Instead of traditional crinoline hoops, numerous petticoats were used here. The price of such a product was quite high despite the low quality of the material and finish. "Military crinolines" - manifestation romantic style as a result of war weariness.
Pannier skirt - wide at the hips, flat front and back (Panier-basket in French).
Spanish style (Spain was not at war and everything Spanish was associated with peaceful life): high crests and mantillas, tango shoes with webbing and ties, Spanish flamenco dresses.
Dresses in the style of those worn in the era of King Louis XV: a very narrow bodice and a wide skirt with frills on the sides, emphasizing the line of the hips.
In 1909, Chanel began her activity in the fashion world, offering women:
Sports jersey dresses.
Sweaters.
Blazers.
Pleated calf length skirts.
Shirt dresses.
English cotton blouses
Knitted suits.
Pajamas that you can wear to the bomb shelter.
This was the time of the cult of the operetta, which was not only fun entertainment, but also introduced new types of clothing. In addition to the operetta and always fashionable drama theaters, revues and cabarets with famous artists, such as Mistenget in Paris or Lucina Messal in Poland, played a similar role. They introduced not only the Argentine tango dance, but also - along with it - the skirt-pants.
It is also worth mentioning the role of ballet in shaping fashion and new approaches to clothing design. Trap of the past and classical ballet, which turned choreography into graphic signs, into the so-called letter of dance, which in the 19th century inspired many artists (Degas, Toulouse-Lautrec, etc.), faded into the background in the 20th century.
New theories proclaimed that the value lies not in skillful construction, but in the natural, expressive movements of the body. The embodiment of this new idea was the work of Isadora Duncan, who had a considerable influence on the fashion of her time.
The desire for reform and simplification in dress was most clearly manifested in ballet, which surprisingly influenced public taste.
A revolution in fashion was caused by the tour of Diaghilev's Russian ballet in Paris with the famous dancer Nijinsky and the ballerina Karsavina. The costumes for the ballet, made according to the sketches of Bakst, were distinguished by great originality, as well as the scenery of the ballets.
These performances marked the beginning of theatrical reform and the end of naturalistic dramatizations. The music of Debussy, Ravel, Prokofiev and Stravinsky, the fantastic costumes and the new dramatizations of Scheherazade, The Rose Fairy, Petrushka, Tamara and others were excellent lessons enjoyed in the salons until the First World War.
The costume experts Bizet and Radius wrote that 1909, in which the named ballets appeared on the stage, became a significant date in the history of fashion. This year brought with it an explosion of enthusiasm in the creation of richly embroidered fabrics and the use of transparent, smoky, like mist, muslins.
Along with this, the banner of oriental luxury, the wealth of the palaces of the sultans and the gardens of the caliphs, was raised. Already in 1910, their influence on fashion was noticeable. Exotic elements appeared not only in the very composition of clothes, but also in the whole art of decor.
Later, in the 1920s, a love for decorative fabrics arose, which was a definite echo of this influence.
Costume designed by L. Bakst for the ballet "Daphnis and Chloe" staged by Diaghilev, 1912 Parisian dress model inspired by the costumes designed by L. Bakst
New theories proclaimed that the value lies not in skillful construction, but in the natural, expressive movements of the body.
The embodiment of this new idea was the dance of the barefoot dancer Isadora Duncan, an American by birth, who came to Europe in 1900 at the age of 22 and revolutionized both the art of choreography and theatrical costume (which used to consist of tutu, i.e. e. pantaloons and gas skirts worn over them, the number of which sometimes reached twenty).
She first danced barefoot, barely dressed in a sheer shirt and shawl. Plastic techniques were scooped up in classical sculptures, in images on ancient Greek and Etruscan amphoras, in reliefs on the pediments of temples. Isadora Duncan embodied her concept, gleaned from the ritual dances of the Vestal Virgins, in living plasticity and rhythm.
Her dance was sculpture, melody and movement, accentuated by the evolution of the sheer shawl. This dance became the basis of the theory of rhythmic dances.
Already the initial masterpieces were rewarded with loud fame. Touring all over Europe since 1900, at the beginning of her artistic activity exclusively in private houses and palaces, and later on the stages of theaters, Isadora Duncan instilled a love for ancient simplicity by performing classical dances in antique attire and charming personality.
Her dance influenced the fact that the first costumes of the new, strict line, introduced by Paul Poiret, had a stylized antique character. The desire for reform and simplification in dress was most clearly manifested in ballet, which surprisingly influenced public taste.
The flowering of exotic elements in fashion was facilitated by the acquaintance of Europeans with the folk art of colonial countries, the countries of the Middle and Far East, which led to a new approach to ornamenting fabrics and the appearance of various shawls, foulard scarves, scarves, etc.
Exoticism was also reflected in the dances of that time. The Brazilian maxime and the Negro cake-walk laid the foundation for a number of new dances, which include, ultimately, the tango. Characteristic of the music of these dances was the chanting of rhythm.
Argentine tango, which became fashionable in Europe at the time, was born out of an exotic dance largely owing its form to the Spaniards.
In the process of its development, tango has undergone many changes, then it finally received a form familiar to us, so different from the original.
In the years in question, the tango caused a huge protest in the conservative part of European society, just as in the 18th and 19th centuries. such a protest was caused by the waltz, which was considered a shameless dance, in the 20s of the 20th century - Charleston, and later - rock and roll.
Tango was at first only a stage dance, and old clothes were not suitable for its performance. For this dance, a special costume was invented in the form of Turkish-type trousers or draped skirts, in the section of which the legs were visible.
The couture house of Drecol and Beschof in Paris in 1911 demonstrated various models of trouser dresses, for example, the so-called jupe-culotte (skirt-trousers), which, however, did not take root everywhere. Only dancers performed in them, as a result of which the new tango dance was called the "trouser dance".
A small number of women who dared to show themselves in these dresses on the street were ridiculed, and therefore such a costume quickly disappeared.
In accordance with the general fashion line, they also tried to wear just trousers, but they did not take root either, because they ran counter to the accepted norms of public morality.
In 1908-1914. the ideal was a woman with white matte skin, with brown hair, who took part in seances of spiritualism and shone like an angel. The previously fresh, infantile blush had to disappear, and women from a young age tried to give the impression of seasoned and knowledgeable.
A statue-pale and melancholy woman, dressed in transparent gauze and muslin, surrounded herself in the interior with light, pastel, close-tone colors, where everything shone from gilding, mirrors and sunlight. She wanted to be loved and was waiting for an oath of allegiance.
In 1913, noisy performances by emancipants began in England, seeking to direct the lives of women in a different direction. But most women only wanted to have fun and be loved.
Sport has not yet occupied a significant place in the lives of women, but nevertheless, it was during this period that the influence of sport on fashion began to manifest itself quite strongly, in connection with which a turn towards freedom and simplicity was indicated.
There were no longer so many folds and stripes from braids, a lot of previously used decorations. Hairstyles became smoother and lower, the neck, arms and legs were exposed.
Linen began to undergo huge changes: petticoats, bodices, shirts, pantaloons and covers.
The tren disappeared, the boots became lighter and were replaced by different shoes. Women, exhausted by the captivity of corsets, willingly got rid of the terrible pressure in the belt. There was a wide variety of forms of clothing.
This and the subsequent period, which lasted until 1923, is characterized by a frequent change in fashion trends, caused by the search for new means of expression and convenience.
The new forms not only did not emphasize the anatomical structure, as it was in 1901-1907, but also tried, albeit timidly, to obscure it.
Between 1908 and 1914, there are (theoretically) several stages in which fashion was influenced by different styles.
The influence of Greek costumes can be traced around 1909, the Empire style around 1911, Oriental clothes around 1913.
Dresses based on Greek clothing:
1 - French model, project by Poiret, 1903;
2 - Polish model, 1911; 3 - English model, 1910
Clothing based on oriental motives:
1 - dress and headdress, project by Poiret, 1911;
2 - dress in the style of "narrow fashion", Paris, 1914;
3 - dress with a skirt pulled up at the hips, Poland, 1914
Dresses based on the Empire style:
1 - Polish model; 2 - French model;
3 - English model.
1911-1914 brought samples of the return of "narrow fashion". During the described period, there were predominantly pseudo-style solutions, and fashion became more and more uncertain.
Fashion 1911-1914 characterized by the softness of the lines, emphasizing the natural bulge of the silhouette and at the same time giving it a feminine character, but not as pronounced as before.
Soft, flowing light fabrics fell freely, giving the clothes a specific character, which at that time was defined as mode lingerie.
This period includes the rejection of hard chemisettes that fit the neck, a decollete is introduced that exposes the shoulders (the so-called "naked fashion." Silk linings, which strengthened even very thin fabrics in the previous period, cease to be used.
There has been moderation in the main lines. The former "bell" shape and "curved" lines gave way to strict lines, and the silhouette began to be called "cue".
The waist rose high, as in the fashion of the First Empire, and the heralds of this turn were very wide belts of silk fabric; they were called "bayaderas".
Gone are the large sleeves; the sleeve became narrow, smoothly sewn below the shoulder, or kimono. Asymmetry was one of the foundations of the overall composition, which found expression in asymmetrical draperies, flaps, wedges, fantasy hems of tunics, linings, etc.
The influence of oriental clothing was manifested in padding that widened the dress below the hips, and in the use of expensive fabrics, colored, transparent, with fabulous ornamentation.
Parisian name - Leon Bakst. In 1910, Paris saw the ballet "Scheherazade" in the program "Russian Seasons" organized by Sergei Diaghilev. The ballet was staged by the famous Mikhail Fokin, and the scenery and costumes were made according to the sketches of Lev Bakst. He creates his own, special, Bakst style. Paris has forgotten that Bakst is a foreigner, that he has his roots in Russia. The name Leon Bakst began to sound like the most Parisian of all Parisian names. His productions began to be imitated, his ideas varied ad infinitum. The artist in Diaghilev's ballets was a full partner of the director and choreographer. So, Bakst worked closely with the famous Fokine, and then with the no less famous Nijinsky, when staging Stravinsky's ballets. His principles of pictorial design were unconditionally accepted by critics. Bakst designs performances not only in Paris, but also in London and Rome.
The legislators of Parisian fashion began to promote the "Bakst style". He was approached with orders for sketches of costumes. This greatly captivated the artist, and he creates a series of magnificent costumes, as well as fabric designs. "... Bakst managed to capture that elusive nerve of Paris that rules fashion, and his influence is now felt everywhere in Paris - both in ladies' dresses and at art exhibitions," M. Voloshin wrote in 1911.
Paul Poiret began working for Doucet and Worth, and in 1903 opened his own fashion house.
Poiret created a powerful fashion empire. Nowadays, fashion houses produce different products under the same brand, but then it was very different from the generally accepted norms.
The silhouette he created freed women from the corset: a flowing skirt that did not reach the floor, an overestimated waistline. It went against the rules of decency. But only two years passed and this innovation was adopted. In 1909, Sergei Diaghilev "brings" Russian art to Europe, including ballet. Thanks to the first season of the Russian Ballet in Paris, France discovered the beauty of the East. The ballet "Cleopatra" was dominated by a riot of colors: a combination of purple and emerald, pink, yellow and black. This cultural event influenced the work of Paul Poiret: he included oriental motifs in his collections and began to create clothes in new colors on a new silhouette - harem pants, turbans, bright colors and ornaments: pink, gold, canary yellow, poisonous green, azure blue. Never before has clothing been so colorful. It was more than exotic. Paul Poiret conquered the public.
Paul Poiret invented the lampshade tunic - a tunic-like robe about knee-length. Another of his inventions - "lame" skirt - it narrowed below the knee. It was possible to walk in it only in small steps, which is why it got its name.
Poiret successfully renewed the fashion for a combination of harem pants and skirts, harem pants and tunics.
The inspiration and muse of Paul Poiret was his wife Denise.
Paul Poiret worked with two of the best illustrators - Paul Iribe and Georges Lepap, who embodied Poiret's models in illustrations.
In 1911, Paul Poiret released the first designer perfume "Rosina" (named after his eldest daughter). Everything from start to finish: the creation of the fragrance, the design of the bottle, the packaging, the advertising, the distribution, was thought up and carried out by the fashion designer himself. This meant the invasion of a new market, which at that time was the monopoly of French perfumers. Paul Poiret, together with Raoul Dufy, are actively working on the creation of fabrics. Paul Poiret once said: "Couturier, like fabric, speaks many languages with one goal - to sing female beauty." Paul Poiret was a passionate admirer of modern art and closely associated with such geniuses of the 20th century as the artists Henry Matisse and Pablo Picasso, the poet Jean Cocteau. Paul Poiret was a patron of the arts. In 1911, he opened the studio "Martina" in Paris (named after his youngest daughter). There, girls from poor families were taught not only to sew, embroider, but also the history of art, drawing.
Paul Poiret became a legend during his lifetime. Understanding the relationship between fashion and advertising, organizing holidays and performances. He was more than just a couturier. Poiret became the founder of the modern concept of "fashion as a lifestyle". He practically invented and used marketing and PR (Public relation) strategies, which have now become common practice and the norm. His houses, salons, holidays that he organized became an amazing performance and spectacle, where his works - dresses played a major role. One example: to advertise his fashion house, he hired fashion models, dressed them in his outfits and drove them around Europe and Russia. All this was accompanied by high-profile articles in the press and photo reports.
Art Deco style. ERTE (ERTE real name and surname TYRTOV Roman Petrovich 1892 - 1990) is a Russian artist, a representative of Art Nouveau, a coryphaeus of graphic design and a famous fashion designer. Abandoning a career traditional for the family, he settled in Paris in 1912, becoming a correspondent for the St. Petersburg magazine Ladies' Fashion. He did not receive a systematic art education, he briefly attended R. Julien's academy. Compiled the pseudonym "Erte" from the first letters of the name and surname. Lived in Paris and Monte Carlo.
Art Deco style - short for the name of the exhibition "L" Exposition Internationale des Arts Decoratifs et lndu-striels Modernes "-" International Exhibition of Modern Decorative and Industrial Arts ", held in Paris in 1925) - Artistic style of interior design, decorative and applied products art, jewelry, fashion design, and industrial product design and applied graphics.
Coco Chanel - with the help of Capel in 1910, Coco opened her first boutique in Paris - the famous salon on Rue Cambon, and three years later - the first branch in Deauville. Soon she had a real Model House in the fashionable resort of Biarritz. What was the secret of such success? Before Chanel, women were buried under miles of fabric and lace: tight waddle skirts, huge bustles, dust-sweeping trains, and giant hats that looked more like cakes. Chanel herself did not fit dresses that emphasized a wasp waist and a magnificent bust - she had nothing to emphasize. In addition, such toilets fettered movement. She offered women completely new, never-before-seen outfits, often borrowed from the men's wardrobe. For example, a sailor suit with a deep neckline and a wide turn-down collar or a leather jacket in the style of a jockey. She was always inspired by what she personally liked and was comfortable. It was a real revolution. Chanel created fashion anew, regardless of what is accepted and what is not.
"Men's" women's clothing - late 1910s
“Once I put on a men's sweater, just like that, because I got cold ... I tied it with a scarf (at the waist). That day I was with the British. None of them noticed that I was wearing a sweater ... "So a new women's fashion appeared - flannel blazers, loose-fitting skirts, long jersey sweaters, sailor suits and the famous suit (skirt + jacket).
“Sheathed in a corset, her breasts out, her ass exposed, so tight at the waist, as if cut into two parts ... maintaining such a woman is the same as managing real estate,” Chanel knew what she was talking about. Working, independent, active women simply could not walk in corsets and flounces.
Rules for the little black dress from Chanel:
- the dress must cover the knees
- the dress should not have any decorated details: frills, embroidery, lace
- be sure to have a clear emphasis on the cut at the waist
- shoes - closed pumps (not sandals!)
- no big decorations
- small handbag
1914 - World War I
Describing the fashion of 1915-1923, we can safely say that it was a continuation of the search for new means of expression, necessary with such rapidly changing forms. The main feature of the fashion of these years was a kind of freedom (“droopiness”) and fantasy. Loose blouses hung loosely over the shoulders, their peplums and wide belts did not fit the figure. Sleeves hung short and wide, sometimes of fantastic shape, elongated in front, reminiscent of Gothic. Frilled skirts and aprons attached to them, trains, shawls, scarves, etc. hung down.
Spaciousness in clothing, which in 1922 reached its highest point, masked the natural outline of the figure. A woman of that time "hung on herself" a dress. This effect was enhanced by the use of soft tissues, whose plastic properties led to the creation of soft, vague forms. All this was a complex resistance to the rigid and refined forms of clothing of the early 20th century.
This period brought important achievements to the woman in the struggle for equality and, in connection with this, new achievements in the field of clothing reform. The reason for this was the First World War, which played a much more significant role in the struggle for equal rights for women than all the previous efforts of the emancipants. Left alone, women were forced to bear full responsibility for themselves and their families; they took the place of men in industry, in offices, hospitals, etc., felt confident in their physical strength and intellectual value.
During the First World War, women began to lead a masculine lifestyle, became conductors in trams, freight forwarders, and some even got into auxiliary military services and put on appropriate uniforms. For example, nurses and American field mail workers wore khaki sports shirts and caps. With the beginning of the war, fashion houses were closed, and women themselves more or less skillfully directed the movement of fashion, freeing themselves from many absurd fantasies that were imposed on them as fashion canons. Unnecessary decorations were discarded, and clothing was designed in such a way as to provide the necessary comfort at work. Casual dress in the reform style gained popularity and took root so firmly that tailors, returning to their work in 1917 and desiring to again have a dominant role in the establishment of fashion, had to adopt these clothes, and attempts to reintroduce the crinoline or "narrow fashion" failed. defeat. Trains, tight corsets and excessive jewelry disappeared at the same time.
The army, not only European but also colonial, also had a great influence on fashion. She brought the atmosphere of distant lands and the exoticism of beautiful native art. There were patterned decorative fabrics from Morocco and Tunisia, beautiful shawls, scarves and other exotic items that enchanted Europe. Fashion immediately absorbed new elements of cut and decoration of Chinese, Arabic and Indian costumes.
It may seem paradoxical that, along with the appearance of simple, practical, rational clothes, the love for an abundance of patterns, lace, appliqués, knitting, beads, etc. increased again. This was due to the activities of Parisian tailors, who, not wanting to completely lose their influence, protested against a simple cut and began to introduce fantastic additions to simple, shaped dresses. From a magazine article of that time: "...dresses of a simple cut and without decorations caused displeasure among the ladies. They tried to influence the artists who create models in order to introduce decorations, even in excessive quantities. For a long time they have not seen dresses so embroidered, embroidered with pearls, hemstitches, trimmed with gathered ribbons, cloth appliqués, embroidered with thick wire and a huge number of thin ribbons that formed complex patterns on the bottom and on the sleeves of woolen dresses and even covered entire planes ... ". A few years after the start of the war, despite the ongoing struggle at the front, life in the rear returned to normal; balls and receptions began to be given again.
Revue theatres, adopting new forms of dress faster and bolder than anyone else, have become at the forefront of fashion. In the review, there were great differences in views on the need for a fantastic framing of plasticity, designed by the most famous decorators and tailors, who were influenced by Russian ballet and decided everything on the contrast of black and saturated colors. In 1921, Poiret designed the scenography and costumes for the revue "Casino de Paris", using mainly black and yellow. This fact led to the general penetration of black into the toilets of women. In Paris, a special white-and-black ball was established, which caused violent protests from tailors. As a rule, the figurative costumes of the actors had an impact on the establishment of certain forms of clothing in life, but the attempt to revive the fashion of ostrich feathers, with which all revue costumes were filled, failed. But the fashion of the Spanish shawl took root thanks to the Argentine dancer Isabella Ruiz, who changed shawls in every dance.
Changes in fashion occurred gradually. During the war, suits were worn everywhere. In the forms of jackets, the influence of a military uniform was obvious, and wide skirts, pleated or flared, opened boots to the bootleg. The moderately narrow sleeve was fastened to the cuff, the waist, somewhat underestimated at first, returned to its place. The hats were medium. In 1917, costumes faded into the background, women took out their pre-war dresses and returned to fashion for a while. prewar years. There were attempts to lengthen the dresses and even swaddle the legs, but this did not take root. The skirts, which became narrower and longer, were rounded at the hips and narrowed down. The silhouette resembled a spindle. The waist was marked high. Many assemblies were made in dresses and coats.
J. Lanvin offered shirt dresses to her clients.
In 1917-1918, a new silhouette appeared - a dress with two waist lines: high and low, on the hips.
In 1918 the dresses were shortened again and widened thanks to the ruffles that were sewn across the skirts. The expansion was also provided by soft loose belts and pleated peplums, as well as tunics that were shorter and wider than skirts (see fig.).
"Cute girl".
"Selfless Mother"
"Exotic Vamp".
Three completely different ideal images.
In 1900, the use of makeup was already widespread. However, it was applied so that the result looked as natural as possible. At this time, the pink powder of Helena Rubinstein came in very handy, since before the faces covered with white powder looked too artificial. At the same time, her American rival Elizabeth Arden opened her first salon, and soon the two queens of cosmetics began to compete for clients, releasing more and more new products. They recommended that women regularly visit beauty salons. We started with a deep cleansing of the skin with steam - just like today.
During the war, it became unacceptable to spend time and money on cosmetics. A little bit of lipstick on the lips, a drop of shiny Vaseline on the eyelids - that's all. Hair that had previously been curled into coquettish curls a la Mary Pickford began to be separated by a clear parting. The men at the front should have known that their women had given up all coquetry, were modest and cordial, like Lillian Diane Gish.
Photo: "Sweet Girl" Lillian Diana Gish fully corresponded to the tastes of that time. The silent film star, who never found her place in sound films, has been performing on stage since she was five years old.
Selling cosmetics to these selfless women was not easy. Therefore, most cosmetic products are declared beneficial to health.
Vaseline, with which they gave shine to the lips and eyelids, was considered an ointment; at the same time, most women did not realize, however, just as they do today, that the problem was the sale of goods. Since anything related to medicine should not look frivolous, women were more likely to resort to cosmetic surgery than to use cosmetics. An operation to smooth wrinkles by injecting paraffin under the skin has become common.
Photo: Theda Bara - an exotic beauty with an inviting look and a small mouth in the shape of a heart, was considered the embodiment of sins and represented on the screen the hidden fantasies of prim America in the images of Salome, Madame DuBarry and Cleopatra.
After the war, virtue was over - everyone wanted to look mysterious and fatal.
Photo: Gloria Swanson angel and devil rolled into one. The image of an exotic woman-vamp. Gloria Swenson (1899-1983) was called his ideal incarnation, who, on the one hand, behaved like a society lady, and on the other hand, appeared without hesitation in erotic outfits such as satin lingerie, silk kimono and luxurious furs. She played in scandalous and risky roles, the theme of which was treason, threesome love and the sexual liberation of a woman. And she did it all with great elegance.
Hair was cut like a boy, eyes were lined with an eyebrow pencil, lips were painted very brightly, and the exoticism of accessories knew no bounds, which Poiret called for in 1910 with his harem style.
From 1914 to 1918, women and men had only one ideal: the selfless nurse. This was especially true for the sisters from the Red Cross, whose uniform was designed by couturier Redfern. Admiration for selfless service went so far that secular ladies immortalized themselves in the guise of nuns or sisters of mercy and sent these photographs to their husbands at the front.
Photo: Ida Rubinstein - sister of mercy in a hospital in Paris during the First World War.
Style: Art nouveau, Art Deco
Designers: Coco Chanel (beginning), Jeanne Paquin, Jeanne Lanvin, Léon Bakst, Jacques Doucet
Illustrators: George Barbier, George Lepape
Music: Tango, Waltz Boston, Ragtime, Jazz (beginning)
Art: Ballets Russes, Fauvism, Cubism, Dadoism, Futurism.
The new creation of director Vladimir Khotinenko is not discussed today only by the lazy. Most of all, of course, historians are indignant, because the series "Demon of the Revolution" is dedicated to the centenary October revolution and gives a rather free interpretation of the fateful events for the country. For all the controversy of the plot, one thing cannot be taken away from this film - it helps to get a clear idea of \u200b\u200bthe fashion of that time. It is generally accepted that revolutionaries are women in leather jackets and red scarves, but the young ladies who helped create a revolution in 1915-1917 looked completely different.
Let's start with the fact that the image that has been deposited in our head as a canonical one is a template that refers rather to a later time - the 20-30s in the USSR. At the dawn of the revolution in Russia, although emancipation began to take over society, it had not yet reached the stage in its development at which women would without hesitation put on men's riding breeches and put on leather jackets. And in the 20s, what can we hide, the percentage of such "comrades" was not great. And in 1915, when preparations were underway for the coup, the ladies had not yet thought about such wardrobe metamorphoses.
Dresses of the early Edwardian era had less voluminous skirts and a slightly overhanging top.
Photo by Getty Images
The film by Vladimir Khotinenko shows the period from 1915 to 1917. In fashion history, this time is often referred to as the late Edwardian era. In general, the period dates from 1901-1910, when King Edward VII ruled Great Britain. However, most often historians extend it for several years after the death of the monarch - until the end of the First World War and the signing of the Treaty of Versailles in 1919. All this time, as in the previous Victorian period, England retained the status of a fashionable capital, which Europe was equal to and, of course, Russian empire.
Women started wearing blouses, jackets and skirts.
Photo by Getty Images
Edwardian women's fashion is the decline of crinolines and the transition to more familiar dress and outerwear silhouettes. At an early stage, women continued to wear corsets, but there was an active propaganda of their abandonment. If the late Victorian era is known for luxurious dresses with bustles - devices that created an imaginary volume at the back, then the Edwardian went on the path of abandoning all these "special effects". By 1917, the skirts of the dresses had become straight, and they even began to narrow them. As always happens with fashion, trying to bring comfort to the wardrobe, women got a new round of inconvenience - the dresses became so narrow in the hips that it was impossible to take a big step in them. It is known that Empress Alexandra Feodorovna, who was known as a great fashionista, simply refused to wear a new style because of its impracticality.
The main fashionista of the series is Sofya Rudneva (Paulina Andreeva)
Rudneva's wardrobe is much more refined than that of Inessa
Photo frame from the series "Demon of the Revolution"
Nadezhda Krupskaya (Daria Ekamasova) is dressed in an old-fashioned outfit, and Inessa (Victoria Iskhakova) looks modest, new to the spirit of the times
Photo frame from the series "Demon of the Revolution"
Inessa Armand (Victoria Iskhakova), Vladimir Lenin's closest associate (and, according to Khotinenko, his mistress), in the film wears a white blouse with a stand-up collar and frills, tucked into an A-line skirt. At the same time, the blouse is refueled as if with a slouch. This is a hallmark of one of the intermediate stages of Edwardian fashion. For several years, dresses were sewn in such a way that the top seemed to hang over, forming a “goiter”. Gradually, the pronounced hypertrophy of the top went away, but the manner of filling blouses “with a slouch” took root for a long time. Dresses of that time were sewn almost according to the figure. You can see an example of models in the wardrobe of another heroine of the film - Sofya Rudneva (Paulina Andreeva). A young beautiful young lady, who is the mistress of the very “demon of revolution” Parvus, is the main fashionista of the series. It was important for the creators of the picture to visualize Sophia as a trophy of Parvus, so they packaged her exclusively in the latest fashion.
Sofya Rudneva (Paulina Andreeva), as a more advanced fashionista, wears a laconic hat
Photo frame from the series "Demon of the Revolution"
The similarity of the wardrobes of the two women is observed in the field of accessories. Both Inessa and Sofya wear hats that are absolutely incredible in decor and size. The costume designers hit the spot here, too. Fantasy hats are the main hallmark of Edwardian fashion. Apparently, having lost the opportunity to excel in the field of dress, the designers of that time decided to direct all their enthusiasm to the production of hats. Hats were mostly wide-brimmed, decorated with ribbons and flowers. These hats weighed a lot, but women still did not refuse them for a long time. Evolution has gone down the path of reducing the size of hats and minimizing decor. You can see that Rudneva, who is more “advanced” in fashion terms, wears a very ascetic hat, but Armand’s hats are very pompous, which hints to us both at the young lady’s age and that she doesn’t follow fashion too closely. Lenin's wife is shown as the most "unadvanced" in terms of fashion. Nadezhda Krupskaya wears dresses from around the 1910s with puffed sleeves. It is also worth paying attention to the color scheme. Krupskaya is always in black, which symbolizes not only her revolutionary asceticism, but also her personal drama - Nadezhda Konstantinovna takes her husband's relationship with Inessa Armand to heart.
Large-scale world events influenced the formation of the main canons of fashion in the 1910s. The fair sex showed imagination in inventing new styles and using different fabrics, trying to remain women.
The First World War of 1914-1918 played a special role. Living conditions have changed, and many worries have fallen on fragile women's shoulders. This introduced adjustments in clothing, which began to differ in comfort and practicality. During this period, uncomfortable corsets, characteristic of women, frilly skirts and voluminous hats disappeared from women's wardrobes.
The war years led to the fact that women went to work in factories, factories, sisters of mercy and in trade. More and more girls mastered male professions, which caused emancipation.
The canons of beauty have changed, which have taken curvaceous forms into the background. Food shortages and harsh working conditions forced women to dress in masculine style.
After the end of the war, Paul Poiret became the trendsetter, for whom the main personification of female beauty is the back. He creates models that cover the neck and expose the back. The new silhouette is thin, simple and elegant.
Most fashionistas wore a short garcon haircut. The fair sex, tired of the war, allowed themselves to become feminine. Transparent evening dresses embroidered with beads, glass beads or sequins are gaining popularity. The make-up becomes especially bright.
There has been a tendency to shorten the length of the skirts. This allowed the girls to feel liberated and free. During this period, women gained the right to vote and began to promote a less conservative lifestyle.
Conventionally, the fashion of the 1910s is divided into two periods: military and post-war. The first one is convenient and concise, due to the fact that women put on men's clothing. The second is significant due to bright and eccentric images that emphasize femininity and sexuality.
Women's clothing in the 1910s
The fashion of the 1910s still does not disregard dresses with a high waistline and a straight-cut skirt. Paul Poiret, inspired by oriental themes, designed Japanese-style gowns, beaded tunics and wide-cut harem pants. In addition, outfits trimmed with fur, as well as hats and muffs, were especially popular.
The peak of emancipation, which came in 1913, led to the fact that comfortable and simple cut products came into fashion. During this period, there was a slight influence of sports on the world podiums.
Laconic shirts and shirt dresses, which did not hinder movement, acquired relevance. Such outfits were in demand in everyday sets. For evening outings, dresses with a narrow bodice and a skirt decorated with frills were chosen.
In the 1910s, the pannier skirt appeared. The model featured a wide silhouette at the hips, while remaining flat front and back. Such an outfit was used for secular exits and endowed the appearance of women with sophistication.
Popular shoes and accessories
The shoes of the 1910s did not change much. The heel "glass" remained an actual detail. Low lace-up boots, which used special hooks, were popular.
Shoes were made from suede and leather. Satin and silk were used for evening shoes. The characteristic height of the heel was 4-5 cm. Shoes and low shoes were decorated with buckles, buttons, beads or bows.
During this period, secular society was fascinated by theatrical art. The fair sex adopted elements of the stage costume into their images, which led to the emergence of bright jewelry on shoes.
During these years from Everyday life frilly accessories disappeared, and women did not particularly strive to adorn themselves. But for the evening out, each fashionista tried to add an individual accent to the look.
Among the main accessories in the 1910s were all kinds of hats. They acquired a more miniature size and were decorated with feathers or beads. A fur coat, which became popular in the post-war years, added a special charm to any look. Products had various sizes and were designed to emphasize the presentability of ladies at festive events.
In general, the main fashion trend of the early twentieth century was the complete rejection of boring forms and the search for fresh solutions. The ideas born during this period significantly influenced the history and development of women's fashion.
The development of fashion in the 1910s of the XX century was largely determined by global events, the main of which was the First World War of 1914-1918. The changed living conditions and worries that ended up on women's shoulders demanded, first of all, convenience and comfort in clothes. The financial crisis associated with the war also did not contribute to the popularity of luxurious dresses made from expensive fabrics. However, as is often the case, difficult times created an even greater demand for beautiful clothes: women, not wanting to put up with circumstances, showed miracles of ingenuity in search of fabrics and new styles. As a result, the second decade of the 20th century was remembered for models that combined elegance and convenience, and the appearance of the legendary star Coco Chanel in the fashion sky.
At the beginning of the second decade of the twentieth century, Paul Poiret remained the main dictator in the fashion world. In 1911, women's trousers and culottes made a splash. The fashion designer continued to popularize his work through social events and various trips. Poiret noted the creation of the Thousand and One Nights collection with a luxurious reception, and later in the same 1911 he opened his own school of arts and crafts, Ecole Martin. Also, the fashion revolutionary continued to publish books and catalogs with his products. Then Poiret went on a world tour, which lasted until 1913. During this time, the artist has shown his models in London, Vienna, Brussels, Berlin, Moscow, St. Petersburg and New York. All his shows and trips were accompanied by articles and photographs in newspapers, so that the news about the French couturier spread all over the world.
Poiret was not afraid of experiments and became the first fashion designer to create his own fragrance - Rosina perfume, named after his eldest daughter. In 1914, with the outbreak of the First World War, the House of Paul Poiret ceased its activities, and the artist made an attempt to return to the world of fashion only in 1921.
This, however, turned out to be a failure, largely due to the fact that the luxurious and exotic style of Poiret was supplanted by the revolutionary models of Coco Chanel.
Emancipation and the first practical models
The first step in the transition to "comfortable" fashion was the final disappearance from women's wardrobes corsets, voluminous hats, "limping" skirts. In the early 1910s, new models came into use, the main among them was the "yule skirt" with a high waist, wide hips, drapery and narrow at the ankles. As for the length, until 1915 the hem of the dresses reached the ground. Skirts, on the other hand, were shortened a little: models came into fashion that reached “only” up to the leg lift. Dresses were often worn with capes, and dresses with a train were also popular. A V-shaped neckline was common, not only on the chest, but also on the back.
The craving for practicality touched not only clothing, but the entire female image. In the second decade of the twentieth century, ladies for the first time stopped doing intricate elegant hairstyles and opened their necks. Short haircuts have not yet become as widespread as in the 1920s, but the fashion for long, beautifully styled hair on the head has become a thing of the past.
At that time, operetta was extremely popular throughout Europe, and the dancers who performed on stage became an example to follow, including in terms of clothing. Along with the operetta, the audience enjoyed the cabaret, and especially the tango dance. Especially for the tango, a stage costume was invented - Turkish trousers, as well as draped skirts, in the cuts of which the dancers' legs were visible. Such outfits were used only on stage, but in 1911 the Parisian fashion house "Drecol and Beschoff" offered the ladies the so-called trouser dresses and a skirt-trousers. The conservative part of French society did not accept the new outfits, and those girls who dared to appear in them in public were accused of denying generally accepted moral standards. Women's trousers, which first appeared in the early 1910s, were negatively received by the public and became popular only much later.
In 1913, emancipant women began to protest in Europe against movement-restricting clothing, insisting on the appearance of simple cut and comfortable models. At the same time, there was still a slight but tangible influence of sports on everyday fashion. Abundant stripes and decorations, intricate appliqués and details that adorned clothes began to disappear. Women allowed themselves to bare their arms and legs. In general, the cut of clothes has become much more free, shirts and dress shirts have come into fashion.
All these trends were characteristic of casual wear, while dressy models were still kept in the style of the 1910s. High-waisted dresses with elements of oriental style, models with a narrow bodice and wide skirt with frills were still popular in the world. A pannier skirt came into fashion, the name of which is translated from French as "basket". The model was distinguished by a barrel-shaped silhouette - the hips were wide, but the front and back of the skirt was flat. In short, the outfits for going out were more elegant and conservative, and some fashion designers sought to keep the trends observed in the fashion of the 1900s. Erte became the most notable among the artists who adhered to conservative models.
Loud debut of the great Erte
The most popular fashion designer Erte, whose name is associated with luxurious and feminine images of the second decade of the twentieth century, did not recognize the trend towards practicality and functionality.
Roman Petrovich Tyrtov was born in 1892 in St. Petersburg, and at the age of twenty he moved to Paris. Erte took the pseudonym from the initial letters of the name and surname. Even as a child, the boy showed a penchant for drawing and design. From the age of 14, he attended classes at the Academy of Fine Arts in St. Petersburg, and after moving to the French capital, he went to work at the Paul Poiret House. His high-profile debut in Paris was the creation of costumes for the play "The Minaret" in 1913. The very next year, when Erte left the House of Poiret, his models were very popular not only in France, but also in the theater troupes of Monte Carlo, New York, Chicago and Glyndbourne. Music halls filled the talented fashion designer with orders, and Erte created costumes for productions such as Irwin Berlin's Music Box Repertoire, George White's Scandals and Mary of Manhattan. Each image created by the couturier was his own creation: in his work, Erte never relied on the experience of his colleagues and predecessors.
The most recognizable image created by the fashion designer was the mysterious beauty, wrapped in luxurious furs, with many accessories, the main of which were long strands of pearls and beads, topped with an original headdress. Erte created his outfits, inspired by ancient Egyptian and Greek mythology, as well as Indian miniatures and, of course, Russian classical art. Denying a non-fitted silhouette and abstract geometric patterns, in 1916 Erte became the chief artist of the Harpers Bazaar magazine, a contract with which he was offered by a magnate.
Popular even before the outbreak of the First World War, Erte was one of the trendsetters until his death in 1990 at the age of 97.
War and fashion
The dispute between adherents of the old style and supporters of practical clothing was decided by the First World War that began in 1914. Women, forced to do all the male work, simply could not afford to dress up in long puffy skirts and corsets.
During this period, functional details began to appear in clothes, referring to the military style - patch pockets, turn-down collars, jackets with lacing, lapels and metal buttons that girls wore with skirts. At the same time, women's suits came into fashion. The hard years brought with them another reform: comfortable knitwear was used in tailoring, from which jumpers, cardigans, scarves and hats were created. Casual dresses, the length of which became shorter and reached only to the calves, were worn with high, coarse lace-up boots, under which women wore leggings.
In general, this time can be described as a spontaneous search for new forms and styles, a passionate desire to get away from all the fashionable standards that were imposed by fashion houses in the 1900s. Trends literally replaced one another. Common to the wartime silhouettes was the freedom of cut, sometimes even the "saggy" clothes. Now the outfits did not emphasize all the curves female figure but, on the contrary, concealed it. Even the belts no longer fitted the waist, not to mention the sleeves, blouses and skirts.
The war, perhaps, made women much more independent than all the emancipant outbursts that characterized the early 1910s. First, women took over the work that men used to do: they took places in factories, hospitals and offices. In addition, many of them ended up in auxiliary military services, where working conditions dictated practicality as the main criterion when choosing clothes. The girls wore uniforms, khaki sports shirts and caps. Perhaps, for the first time, women felt their independence and significance, became confident in their strengths and intellectual abilities. All this allowed the ladies themselves to direct the development of fashion.
During the war, when almost all fashion houses were closed, women voluntarily got rid of all imposed canons, freeing clothes from unnecessary details. The practical and functional style took root and fell in love so much that the fashion houses that resumed their activities after the war were forced to follow new trends, and attempts to regain popularity of the previously relevant crinoline and uncomfortable "narrow" styles ended in failure.
It is worth noting, however, the "military crinolines" that appeared at the same time and became extremely popular. These puffy skirts differed from their predecessors in that they used not the usual hoops, but a large number of petticoats. It took a lot of fabric to sew such outfits and, despite the low quality, the price of "military crinolines" was quite high. This did not prevent the voluminous skirt from becoming one of the main hits of the war, and later this model became a symbol of the romantic style caused by general protest and war weariness. Unable to resist the mastered practical style, fashion designers decided to bring originality and beauty to simple-style outfits through details and finishes. Dresses "haute couture" were richly decorated with pearls, ribbons, appliqués and beads.
The impact of the First World War on fashion cannot be described only by the emerging trend towards practicality. Soldiers who participated in battles in foreign territories brought home as trophies, including new exotic fabrics, as well as hitherto unseen shawls, scarves and jewelry from Tunisia and Morocco. Fashion designers getting to know cultures different countries, absorbed ideas and embodied new styles, patterns and finishes in tailoring.
After the end of the war, when social life improved, and balls began to be given again in Paris, many women abandoned the costumes that had become familiar and returned to pre-war fashion. However, this period did not last long - after the war, a completely new stage in fashion began, which at that time was most influenced by Coco Chanel.
Men's style from Chanel
Coco Chanel, by her own admission, tried all her life to adapt a men's suit to the needs and lifestyle of a modern woman.
Coco Chanel began her journey in the fashion world in 1909 when she opened her own hat shop in Paris. The rumor about the new designer quickly spread throughout the French capital, and the very next year, Coco was able to launch not only hats, but also clothes, opening a store at 21 Rue Cambon, and then her own Fashion House in the Biarritz resort. Despite the high cost of clothing and the simplicity of the cut, which was unusual for that time, Chanel's models were rapidly gaining popularity, and the designer had a wide clientele.
The main task of the clothes that fashion designers previously offered to women was to emphasize the wasp waist and highlight the chest, creating unnatural curves. Coco Chanel was thin, tanned and athletic, and the style common at that time did not suit her perfectly - with all the desire, no clothes could make an "hourglass" out of a girl's figure. But she was the perfect model for her own outfits. “Cuffed in a corset, breasts out, butt exposed, so tight at the waist, as if cut into two parts ... to maintain such a woman is the same as managing real estate,” said Koko.
Promoting convenience and unisex style, the fashion designer created very simple dresses and skirts, distinguished by clear lines and the absence of jewelry. The girl, without hesitation, swept aside unnecessary details and unnecessary accessories in search of the perfect model that does not restrict movement, and at the same time allows a woman to remain a woman. Disregarding public opinion, she deftly introduced women's clothing elements of masculine style, independently setting an example of the correct use of simple outfits. "Once I put on a men's sweater, just like that, because I felt cold ... I tied it with a scarf (at the waist). That day I was with the British. None of them noticed that I was wearing a sweater ..." Chanel recalled. That is how her famous plunging-neck sailor suits with turn-down collars and "jockey" leather jackets appeared.
When creating clothes, Chanel used simple materials - cotton, knitwear. In 1914, she shortened the women's skirt. At the start of World War I, Coco designed practical sweaters, blazers, shirt dresses, blouses, and suits. It was Chanel who contributed to the popularization of pajamas, and in 1918 even created women's pajamas, in which you could go down to the bomb shelter.
Closer to 1920, Coco, like many artists of that time, became interested in Russian motifs. This line in the work of Chanel was developed already at the beginning of the third decade of the twentieth century.
The second decade of the twentieth century, despite all the hardships and hardships, became a turning point in the evolution of fashion - it was in the 1910s that artists began to actively search for new forms that could give women freedom without depriving them of grace. The reforms brought into fashion by the war and the trends of the post-war years became decisive in the development of the industry in the following decades.
