High Fashion Pre Teen Ensembles
🔞 ALL INFORMATION CLICK HERE 👈🏻👈🏻👈🏻
High Fashion Pre Teen Ensembles
Was this page helpful?
Yes
No
Performance & security by Cloudflare
You cannot access www.rd.com. Refresh the page or contact the site owner to request access.
Copy and paste the Ray ID when you contact the site owner.
Ray ID:
748ed408794b7b7b
748ed408794b7b7b Copy
For help visit Troubleshooting guide
From Wikipedia, the free encyclopedia
Costume and fashion from the 1930s to the end of World War II
^ Jump up to: a b Wilcox, R. Turner: The Mode in Fashion , 1942; rev. 1958, p. 328–36
^ Jump up to: a b Wilcox, R. Turner: The Mode in Fashion , 1942; rev. 1958, pp. 379–84
^ Flapper dresses
^ Shrimpton, J (2014). Fashion in the 1940s . Oxford: Shire Publications. p. 19.
^ Jump up to: a b Welters, Linda; Cunningham, Patricia, eds. (2005-03-01). Twentieth-Century American Fashion . Dress, Body, Culture. Berg Publishers. doi : 10.2752/9781847882837 . ISBN 9781847882837 .
^ Jump up to: a b c d "What Did Women Wear in the 1940s?" . Retrieved September 21, 2016 .
^ Ewing, Elizabeth: History of 20th Century Fashion , London, 1974, p. 97, 1997 revised edition, ISBN 0-89676-219-X
^ Jump up to: a b "Hollywood Influences Fashion - Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages" . www.fashionencyclopedia.com . Retrieved 2018-04-21 .
^ Fashion : the definitive history of costume and style . Brown, Susan, 1965-, DK Publishing, Inc., Smithsonian Institution. (1st American ed.). New York, N.Y.: DK Publishing. 2012. ISBN 9780756698355 . OCLC 777654556 . {{ cite book }} : CS1 maint: others ( link )
^ Quoted in LaValley, "Hollywood and Seventh Avenue"
^ Jump up to: a b c d LaValley, "Hollywood and Seventh Avenue", in Hollywood and History: Costume Design in Film
^ Leese, Elizabeth: Costume Design in the Movies , Dover Books, 1991, ISBN 0-486-26548-X , p. 18
^ Jump up to: a b Chung, So-Young; Cho, Kyu-Hwa (2006). "A Study on the Fashion Style of Hollywood Star Marlene Dietrich in 1930s" . Journal of Fashion Business . 10 : 1–14.
^ Song, Young-Kyoung; Lim, Young-Ja (November 2007). "The Study on the Hollywood Film Costume of Fashion image in 1930s". Journal of the Korean Society of Costume . 57 : 110–123.
^ Kim, Hyun-Jung; Cho, Kyu-Hwa (2003). "A Study o Costume and Color Symbolism of Gone with the Wind". Journal of Fashion Business . 7 : 1–12.
^ Jump up to: a b c d e Brockman, Theory of Fashion Design , pp. 40–52
^ The Queen's mother had died in June 1938.
^ Jump up to: a b c d Garland, Madge, in J. Anderson Black and Madge Garland, A History of Fashion , pp. 324–239
^ Bryant, Nancy O. "The interrelationship between decorative and structural design in Madeleine Vionnet's Work", Costume 1991, V 25, pp. 73–88
^ United Press (1 April 1954). "Hemline Changes Mild Now" . Tuscaloosa (Ala.) News . Retrieved 1 March 2014 .
^ Jump up to: a b Tortora, P., & Eubank, K. (2005). A survey of historic costume. pp 400–450. New York: Fairchild
^ Marshall Field & Company, Fashions of the Hour , Spring 1936, p. 2
^ Rationed fashion
^ 1930s beachwear
^ Spruce bathing suit
^ Jump up to: a b c Kennett, Lee (1985). For the duration... : the United States goes to war, Pearl Harbor-1942 . New York: Scribner. pp. 127–129 . ISBN 978-0-684-18239-1 .
^ "Nylon Stocking society" . Orgsites.com. 1940-05-15. Archived from the original on 2012-08-16 . Retrieved 2012-08-15 .
^ WPB "Yardstick" Archived 2009-12-26 at the Portuguese Web Archive and discussion of L85 regulations at Costumes.org Archived 2009-07-16 at the Portuguese Web Archive, retrieved 21 October 2007
^ Jump up to: a b Kemper, Rachel H: "Costume" (1992) pg. 144
^ Harris, Kristina, Vintage Fashions for Women, 1920s-1940s, Schiffer Publishing Ltd., 1996, p. 137.
^ Warren, Geoffrey (1987). Fashion Accessories Since 1500 . New York: Drama Book Publishers. pp. 146–147 .
^ Shrimpton, Jayne (2014). Fashion in the 1940s . Great Britain: Shire Publications. pp. 42–49.
^ "Price of Freedom: Dressing for War" . The Price of Freedom: World War II . National Museum of American History, Behring Center . Retrieved April 4, 2016 .
^ Kennedy, Sarah (2010). The Swimsuit: A History of Twentieth-Century Fashions . London: Carlton Books Limited. pp. 114 .
^ Reed, Paula (2012). Fifty Fashion Looks That Changed The 1950s . London: Conran Octopus. p. 34.
^ Boyer (1990).
^ Walker, Richard: The Savile Row Story , Prion, 1988, ISBN 1-85375-000-X
^ South African blazer
^ Jump up to: a b "1930s Fashion: Women's, Men's, and Children's Clothing" . FamilySearch Blog . 2020-05-29 . Retrieved 2021-08-04 .
^ Elena (2018-09-28). "Three magazines from 1930s" . Vintage Sewing Machines . Retrieved 2021-08-04 .
^ "8 Facts about Clothes Rationing in Britain During the Second World War" . Imperial War Museums . Retrieved 2021-08-04 .
^ "Young slaves of fashion" . The Guardian (archive) . 1 July 1938. Archived from the original on 2016-07-02 . Retrieved 2021-08-04 .
^ "1930s CHILDREN'S WEAR – Screen Archive South East" . Retrieved 2021-08-04 .
The most characteristic North American fashion trend from the 1930s to 1945 was attention at the shoulder, with butterfly sleeves and banjo sleeves, and exaggerated shoulder pads for both men and women by the 1940s. The period also saw the first widespread use of man-made fibers, especially rayon for dresses and viscose for linings and lingerie , and synthetic nylon stockings . The zipper became widely used. These essentially U.S. developments were echoed, in varying degrees, in Britain and Europe.
Suntans (called at the time "sunburns") became fashionable in the early 1930s, along with travel to the resorts along the Mediterranean , in the Bahamas , and on the east coast of Florida where one can acquire a tan, leading to new categories of clothes: white dinner jackets for men and beach pajamas, halter tops, and bare midriffs for women. [1] [2]
The lighthearted, forward-looking attitude
and fashions of the late 1920s lingered through most of 1930, [3] but by the end of that year the effects of the Great Depression began to affect the public, and a more conservative approach to fashion displaced that of the 1920s. For women, skirts became longer and the waist-line was returned up to its normal position. Other aspects of fashion from the 1920s took longer to phase out. Cloche hats remained popular until about 1933 while short hair remained popular for many women until late in the 1930s and even in the early 1940s. The Great Depression took its toll on the 1930s womenswear due to World War II which dates from 1939 to 1945. This greatly affected the fashion of how women dressed during the 1940s. According to dress historian Jayne Shrimpton: "Committed to ensuring the fair distribution of scarce but essential resources, namely food, clothing, and furniture, the government introduced a comprehensive rationing scheme based on allocation of coupons - a system deriving, ironically, from the German rationing plan devised in November 1930." [4]
Because of the economic crash, designers were forced to slash prices for clothing in order to keep their business afloat, especially those working in couture houses. Designers were also forced to use cheaper fabric and materials, and dress patterns also grew in popularity as many women knew how to sew. Hence, clothing was made more accessible. Incidentally, there was also a continuation of mass production, which had been rising in popularity since the 1920s. The 1930s allowed women from all classes and socio-economic backgrounds to be fashionable, regardless of wealth. With prices slashed on types of fabrics utilized for designing, new inventions such as the zipper made the manufacturing of garments quicker and cheaper. This was also influenced by the rise in women entering the workforce alongside the rise of the working woman , as they still were able to afford to dress well and stay in style. Daywear also had to be functional, but it never lost its touch of elegance or femininity, as the dresses would still naturally highlight the female or womanly shape: with cinched waistlines, skirts fitted to the hip and fullness added to the hem with flared gores or pleats. Frilled rayon blouses also went with the cinched waist. [5]
Because clothes were rationed and fabric was scarce, the hemlines of dresses rose to knee length. The main sort of dress in the 1940s included features such as an hour glass shape figure, broad shoulders, nipped in high waist tops and A line skirts that came down to just at the knee. Many different celebrities who embraced this type of style such as Joan Crawford , Ginger Rogers , Barbara Stanwyck , and Ava Gardner . Even though daywear dresses were influenced by the war, evening dresses remained glamorous. Women's undergarments became the soul of fashion in the 1940s [6] because it maintained the critical hourglass shape with smooth lines. Clothes became utilitarian. Pants or trousers were considered a menswear item only until the 1940s. [6] Women working in factories first wore men's pants but over time, factories began to make pants for women out of fabric such as cotton, denim , or wool. Coats were long and down to the knee for warmth.
Major fashion magazines at the time including Vogue continued to cater to the fashionable and wealthy women of the 1930s, regularly reporting and reflecting the most popular trends in that time period, despite the impact the economic crash had on them. The wealthiest still managed to afford and keep up with the most high-end or the most coveted designs and maintain their lifestyle.
Throughout the 1930s and early 1940s, a second influence vied with Paris couturiers as a wellspring for ideas: the American cinema . [7] As Hollywood movies gained their popularities, general public idolized movie stars as their role models. Paris-based fashion houses were losing their power and influences in most major fashion trends during these years. Many American and European moviegoers were fascinated by and got interested in overall fashion including clothes and hairstyles of movie stars which led to various fashion trends. [8] After the movie Tarzan, animal prints became popular. On the other hand, different styles such as bias-cut, satin, Jean Harlow-style evening dresses and the casual look of Katharine Hepburn also became famous. [9] Paris designers such as Elsa Schiaparelli and Lucien Lelong acknowledged the impact of film costumes on their work. LeLong said "We, the couturiers, can no longer live without the cinema any more than the cinema can live without us. We corroborate each others' instinct. [10]
The 1890s leg-o-mutton sleeves designed by Walter Plunkett for Irene Dunne in 1931's Cimarron helped to launch the broad-shouldered look, [11] and Adrian 's little velvet hat worn tipped over one eye by Greta Garbo in Romance (1930) became the "Empress Eugénie hat ... Universally copied in a wide price range, it influenced how women wore their hats for the rest of the decade." [11] During late 1920s to early 1940s, Gilbert Adrian was the head of the costume department at Metro-Goldwyn-Mayer, the most prestigious and famous Hollywood movie studio. He produced numerous signature styles for the top actresses of the period, as well as countless fashion fads during those times. One of his popular dresses was the gingham dress, a cotton dress with a checked or striped pattern, that he made for Judy Garland for the movie The Wizard of Oz in 1939, and for Katharine Hepburn for the movie The Philadelphia Story in 1940. [8] Movie costumes were covered not only in film fan magazines , but in influential fashion magazines such as Women's Wear Daily , Harper's Bazaar , and Vogue .
Adrian's puff-sleeved gown for Joan Crawford in Letty Lynton was copied by Macy's in 1932 and sold over 500,000 copies nationwide. [12] The dress was appraised as one of the most influential pieces in the era's fashion, inspiring numerous designers to showcase similar styles in their own work. [13] One of Crawford's widely influential pieces was a white organdy dress with ruffle adornments. With the use of shoulder pads, the dress made the movement freer, emphasizing the back by removing adornments previously popularized in the 1920s. [14]
One of the most stylistically influential films of the 1930s was 1939's Gone with the Wind . The dresses in the movie were designed with simplified adornments and a mixture of different monotone hues as opposed to using a varied color palette. This was considered to be Plunkett's intentional design to utilize modernism, the emerging aesthetic of the 1930s. Plunkett received praise for producing costumes that adequately harmonized the era of the movie with the aesthetic sense of the late 1930s. The costumes brought back the Neo-Victorian style, as well as strong use of symbolic color. [15] It inspired the Princess Ballgown, a Victorian style dress reduced to full A line skirts with petticoats underneath for fullness. [6] It was the most popular style for teens going to prom. [6] Plunkett's "barbecue dress" for Vivien Leigh as Scarlett O'Hara was the most widely copied dress after the Duchess of Windsor's wedding costume, and Vogue credited the "Scarlett O'Hara" look with bringing full skirts worn over crinolines back into wedding fashion after a decade of sleek, figure-hugging styles. [11]
Lana Turner 's 1937 film They Won't Forget made her the first Sweater girl , an informal look for young women relying on large breasts pushed up and out by bras , which continued to be influential into the 1950s, and was arguably the first major style of youth fashion.
Travis Banton gained his fame by, after working at a couture house in New York, designing costumes for Marlene Dietrich as a head designer of Paramount. His style was softer and more alluring than Adrian's, embodying femininity by his sense of balance with the use of Vionnet's bias-cut, and was known for refined concepts of simple lines and classic styles. Many famous movie stars during the 1930s such as Magdalene Dietrich and Mae West at Paramount became the models of wit, intellect and beauty through Banton's elegant costumes. The costumes he made for Dietrich for various movies such as Shanghai Express 1932, and The Scarlet Empress 1934 portray her sharp regality. [13]
Retail clothing and accessories inspired by the period costumes of Adrian, Plunkett, Travis Banton , Howard Greer , and others influenced what women wore until war-time restrictions on fabric stopped the flow of lavish costumes from Hollywood. [11]
Jean Patou , who had first raised hemlines to 18" off the floor with his "flapper" dresses of 1924, had begun lowering them again in 1927, using Vionnet's handkerchief hemline to disguise the change. By 1930, longer skirts and natural waists were shown everywhere. [16]
But it is Schiaparelli who is credited with "changing the outline of fashion from soft to hard, from vague to definite." [16] She introduced the zipper , synthetic fabrics, simple suits with bold color accents, tailored evening gowns with matching jackets, wide shoulders, and the color shocking pink to the fashion world. By 1933, the trend toward wide shoulders and narrow waists had eclipsed the emphasis on the hips of the later 1920s. [16] Wide shoulders would remain a staple of fashion until after World War II.
In contrast with the hard chic worn by the "international set". [16] designers such as Britain's Norman Hartnell made soft, pretty dresses with fluttering or puffed sleeves and loose calf-length skirts suited to a feminine figure. His " white mourning " [17] wardrobe for the new Queen Elizabeth 's 1938 state visit to Paris started a brief rage for all-white clothing. [18]
Feminine curves were highlighted in the 1930s through the use of the bias-cut. Madeleine Vionnet was an early innovator of the bias-cut, using it to create clinging dresses that draped over the body's contours. [19]
Through the mid-1930s, the natural waistline was often accompanied by emphasis on an empire line. Short bolero jackets , capelets, and dresses cut with fitted midriffs or seams below the bust increased the focus on breadth at the shoulder. By the late 1930s, emphasis was moving to the back, with halter necklines and high-necked but backless evening gowns with sleeves. [2] [16] Evening gowns with matching jackets were worn to the theatre, nightclubs, and elegant restaurants.
Skirts remained at mid-calf length for day, but the end of the 1930s Paris designers were showing fuller skirts reaching just below the knee; [20] this practical length (without the wasteful fullness) would remain in style for day dresses through the war years.
Other notable fashion trends in this period include the introduction of the ensemble (matching dresses or skirts and coats) and the handkerchief skirt, which had many panels, insets, pleats or gathers. The clutch coat was fashionable in this period as well; it had to be held shut as there was no fastening. By 1945, adolescents began wearing loose, poncho-like sweaters called sloppy joes. Full, gathered skirts, known as the dirndl skirt, became popular around 1945. [21]
Gloves were "enormously important" in this period. [18] They were a type of accessory that came to be seen as more of a comfort rather than for style. The elaborate trim was removed and was replaced by plain gloves. Evening gowns were accompanied by elbow length gloves, and day costumes were worn with short or opera-length gloves of fabric or leather.
Manufacturers and retailers introduced coordinating ensembles of hat, gloves and shoes, or gloves and scarf, or hat and bag, often in striking colours. [18] For spring 1936, Chicago 's Marshall Field 's department store offered a black hat by Lilly Daché trimmed with an antelope leather bow in "Pernod green, apple blossom pink, mimosa yellow or carnation blush" and suggested a handbag to match the bow. [22]
When war broke out in 1939, many women purchased handbags with a respirator pouch due to fear of poison gas attacks. [23]
During the mid to late 1930s, swimsuits became more revealing than those of the 1920s, and often featured lower necklines and no sleeves. These were made from nylon and rayon instead of the traditional wool, and no longer included a short modesty skirt. [24] Experimental swimsuits made from spruce wood veneer were a fad in the early 1930s, but did not catch on among the mainstream. [25]
Notable American socialite was Wallis Simpson and her marriage to Prince Edward was also seen as influential trendsetters during the 1930s period of fashion. Their marriage was historical, been called “The Greatest Love Story of the 20th Century” by some, due to the fact that Prince Edward was royalty and in line for the throne. However, his love affair with Wallis Simpson is what attracted attention and made headlines.
Simpson was not only a socialite, but she was American and a divorcee, both of which were deal breakers for the royal family at the time. As Prince Edward found he could not marry Simpson on these
Teen Girl Poop
Fetish Fucking
Voyeur Mature Wife