INTRODUCTION

CHAPTER 1VICTORIAN AND SECOND EMPIRE

This was a period in which the exuberance and emotional excitement of Romanticism became codified, restricted, repressed, and unnatural, and the mood and manner of sixteenth-century mannerism made itself felt in the clothing, public architecture, interiors, and furnishings that were the style of the Second Empire in France and the early to mid-Victorian Period in England. It was a period of excessive complexity and weight in decoration and ornament and of somber color in all areas of clothing (except for pale pastels in womens ball dresses). In general, life was tightly structured and organize, clothing was layered and formal for the example woman used cage crinoline, Amelia jenk bloomers, Gibson blouse, pagoda sleeve, leg o mutton sleeve, bertha neckline, fichu, bonnet, muffs, parasol, and marry widow hat. The silhouette is fishtail and hourglass; for the man used top hat, bowler/derby hat, waistcoat, frock coat, tail coat, tuxedo, monocle, deer stalker, check field, peacoat, strawhat, black tie, bow tie, wing collar, suspender.

CHAPTER 2LATER VICTORIAN:THE GILDED AGE

This was the period in which neomannerist tension, repression, and bad taste reached a peak in furnishings and female fashion a period in which expanding capitalism, industrialism, and imperialism placed layered richness above artistry, beauty, and simplicity. in truly was gilded age in which fortunes in Europe and America were made overnight, and the wealthy heiresses of the new world began that search in the old for titled husband with great estates. It was an age in which the rules of upper-class living and the caste levels in bourgeois society became tightly solidified and codified. It was an age of expensive, artificial, upper-class living in which taste was subordinated to a heavy and ostentatious display of position and wealth. for women it was one of the most unnatural and inhibited periods of fashion; for men it was one of the most dull and codified moments in the history of dress.

CHAPTER 3LATE VICTORIAN AND EDWARDIAN:ART NOUVEAU

This was a period when the arts and clothing gradually began the move into the modern technonogical age. Clothes which for over half a century had been an anachronism in a world of trains, industrial plants and streetcars at last began to loosen up and move beyond the rigid prescriptions of the Victorial Age. This was also a period when art nouveau designs swept away the eclectic excesses of the past in a favor of abstract organic growth lines in interiors, furniture, and artifacts and , to a lesser extent, in pattern motifs for female growns. Thus with the death of Queen Victoria and the accession of Edward VII, the last decade of elegance and gentility began with a loosening of costume lines, a lightening of colors, a breaking down of prescribed uniforms for function, and an acceptance in society of many of the sporting and business clothes that had been on the periphery of fashion for several decades.

CHAPTER 4WORLD WAR I AND THE TWENTIES:EARLY ART DECO

This was a period during which fashion, particulary for women, moved sharply into the modern world. In 1911 the remainders of the grand dame imagine still remained with many of the decorative effects that had been in existence since the Victorian Age. By the end of the 1920s Woman as an active, boyish, streamlined figure who reflected the new age of speed, efficiency, and workship of the machine. Because of the Great War the old, upper-class, slow-paced, genteel way of life was replaced by a sleek, action-oriented, superficial sophistication. The old culture which had been interested in mood, impression, and a larger-than-life romantic ideal disappeared in favor of a new culture in which smooth efficiency, speed, and machine imagery were dominant- an age in which the human figure was both freed from the strictures of the past and subordinated to the textures and forms of the machine age.

CHAPTER 5THE THIRTIES AND WORLD WAR II:LATE ART DECO

This was a period that continued the artistic ideals of art deco with its popularization of the decorative effect based on the new machine image. It was a period when some of the excesses of the 1920s were toned down by the Great Depression and when the new male and female ideals in manners and clothing came from the stars of the great silver screen the one escapist pleasure that depressed America could still afford. The most memorable silhouettes for women were the long, straight lines of the early 1930s, the slinky, clinging, tubular evening creations of the mid 1930s, the boxy, square, padded look of the late 1930s with the broad, snap-brimmed hat. It was also a period of great repression and upheaval that culminated in six terrible years of world war.

CHAPTER 61940:THE COLD WAR

This was a period of retrenchment and consolidation after the war and in the face of the anexieties of an atomic age and a world with a Cold War mentality. It was a period much like that following World War I with its attempted return to normalcy. Clothing continued in variations of machine imagery and mechanized efficiency with a great stress on the use of plastic and synthetic. There was still a great admiration for the simple, clean, geometric lines that one found in industrialized technology and a great preference for smooth, polished surface and hard, flat, or light-reflective textures. It was the era of the man in the grey flannel suit and the woman in the boxy suit jacket and skirt or the black A-line or H-line cocktail dress accented with pearls.

CHAPTER 71950

The origins of 1950s fashion began with Christian Diors New Look, in 1947. The New Look consisted of a below-mid-calf length, full-skirt, pointed bust, small waist, and rounded shoulder line. The look became popular post WWII. At first, the style was not well received by Americans; however, that quickly changed as the trend dominated fashion magazines. Other styles that became popular during the post-war period were a tailored, feminine look with gloves and pearls, tailored suits with fitted jackets with peplums, with a pencil skirt. Day dresses had fitted bodices and full skirts, with jewel or low-cut necklines or Peter Pan collars. Shirt-dresses and halter-top sundresses were also popular. Skirts were narrow or very full, held out with petticoats, while poodle skirts were a brief fad. Gowns were often the same length as day dresses with full, frothy skirts, and cocktail dresses were worn for early-evening parties. Short shrugs and bolero jackets were often made to match low-cut dresses.Other trends seen in the 1950s are a result of the development of new synthetic and easy-care fabrics. Some of these fabrics are drip-dry nylon, orlon, and dacron, which could retain heat-set pleats after washing, acrylic, polyester, triacetate, and spandex. These new fabrics worked well with the increasingly popular ease of the suburban lifestyle. Another lifestyle trend that emerged during the post-war era was defining the teenage years as a true stage of development. As a result of this new development, and for the first time in American history, teenage and young adult fashions became a new marketing niche.As society moved to the suburbs and adapted to a relaxed lifestyle, fashion followed suit. During this decade, casual sportswear was an increasingly large component of women's wardrobes. Casual skirts were narrow or very full; pants became very narrow, and were worn ankle-length. Pants cropped to mid-calf called houseboy pants, while shorter pants, below the knee, were called pedal pushers. Shorts were very short in the early '50s, and mid-thigh length Bermuda shorts appeared around 1954 and remained fashionable through the remainder of the decade. Loose printed or knit tops were fashionable with pants or shorts. Also seen during this decade was the swimsuit, which was one- or two-piece. Some swimsuits had loose bottoms like shorts with short skirts.In the 1950s mens styles were based in conservatism. Most men wore suits for work and the Ivy League style for a relaxed occasion. Suits consisted of dark blue, dark brown, and charcoal; the ties were also uniform and dark. The Ivy League style consisted of cardigan sweaters, which was used for the letter sweater and cherished among athletes. Pink also became a color seen on men, which was a result of the 1950s casual menswear. Also popular are cowboy inspired shirts, and hats became a trendy accoutrement.

CHAPTER 81960

The 1960s was a decade of sweeping change throughout the fashion world generating ideas and images which still appear modern today. Whereas fashion had previously been aimed at a wealthy, mature elite, the tastes and preferences of young people now became important. At the beginning of the decade, the market was dominated by Parisian designers of expensive haute couture garments. Formal suits for women underwent a structural change resulting in looser lines and shorter skirts.The shape of clothes was soon transformed by new ideas emerging from the London pop scene. In Britain, musical taste and styles of dress were closely linked and it was the mod look which first popularised the simple geometric shapes typical of the 1960s. By the mid-sixties, the flared A-line was in style for dresses, skirts and coats. Slim fitting, brightly coloured garments were sold cheaply in boutiques all over 'Swinging London' and had tremendous influence throughout Europe and the US.

CHAPTER 91970

The early 1970s fashion scene was very similar to 1969, just a bit more flamboyant. It wouldnt be hyperbole to say that a fashion revolution occurred in the 1970s. Polyester was the material of choice and bright colors were everywhere. Men and women alike were wearing very tight fitting pants and platform shoes. By 1973, most women were wearing high cut boots and low cut pants.Early 1970s fashion was a fun era. It culminated some of the best elements of the 60s and perfected and/or exaggerated them. Some of the best clothing produced in the 1970s perfectly blended the mods with the hippies.By the late 1970s the pant suit, leisure suit and track suit was what the average person was sporting. Every woman had a cowl neck sweater in her closet and every man had a few striped v-neck velour shirts.

CHAPTER 101980

The1980s fashionhad heavy emphasis on expensive dressing and fashion accessories.Apparelstend to be overly bright and vivid in appearance. Women expressed an image of wealth and success through shiny costume jewelry like large faux-goldearrings, pearlnecklacesand clothing covered withsequinsand diamante.Punk fashionbegan as a reaction against both thehippiemovement of the past decades and thematerialistvalues of the current decade. Hair in the 1980s was generally big,curly,bouffantand heavily styled.This was in contrast to the long and straight style worn in the 1970s. Television shows such asDynastyhelped popularize the high volume bouffant and glamorous image associated with it.Women from the 1980s wore a heavy and bright makeup. Everyday fashionmakeupin the 80s comprised having light-colored lips, dark and think eyelashes, pink and light blue blusher.

CHAPTER 111990

In the 1980s, fashion was influenced by the western economic boom. Youth culture stopped hogging the scene as the teenage market lost impetus. The dominant market was getting older and was also financially secure. Demographics changed the face of society. People were living longer and seemed to act younger at the same time. Old industries died, while new technologies developed and boomed.One of the strongest looks of the 1980s was power dressing. After John Molloy wrote his book Women Dress For Success in 1975, corporate America took it to heart and women began to abandon the incomplete look of mismatched skirt, sweater or blouse for a full jacketed sober suit. Soon the concept came to Britain and the rest of Europe followed.

CHAPTER 122000

The2000s fashionare often described as being a "mash-up",where trends saw the fusion of previous styles, global and ethnic clothing, as well as the fashions of numerous music-based subcultures, especiallyindie pop. Many in the industry have noted the lack of divide between the 1990s and early 2000s due to the continued popularity ofminimalist fashionamong young people of both sexes.For the most part, the mid-late 2000s did not have one particular style but recycledvintage clothingstyles from the 1940s, 1950s, 1960s and 1980s for the example is Boho-chic. Boho-chic is a combination of nontraditional, eclectic styles influenced by gypsies, hippies, and artistic clothing of the 1960s and 1970s. The style is one of balance between messy and feminine, while establishing a sense of uniqueness and individuality. The style itself is versatile, as the trend ranges from artsy to exquisite.

CHAPTER 1VICTORIAN AND SECOND EMPIRE

Top Hat is a tubular shaped of hat create with velvet

Similarities:

Both top hat looks same tubular and high. The color still used Black color

Diferencies:

On the modern picture top hat used for style but for the old picture top hat more useable. On the modern picture top hat not to high as top hat in old picture. Usually top hat used with suit but in modern picture it can be combine with knitwear In modern picture top hat made not from velvet anymore but can be made by another fabric like silk.

CHAPTER 2LATER VICTORIAN:THE GILDED AGE

Straw hat a short crown hat with a regular brim. Made of woven grass. Worn for summer.

Similarities:

Both used as head accessories

Diferencies:

On the modern picture straw hat used for style but for the old picture it more useable. On the modern picture used by woman but on the old picture used by man. Usually straw hat worn for summer but in the modern picture straw hat can used anytime.

CHAPTER 3LATE VICTORIAN AND EDWARDIAN:ART NOUVEAU

Dresscoat/tailcoatis a double/ single breasted coat with shorter part as the front and longger at the back.

Similarities:

Both used by man Both silhouette is the same shorter part as the front and longfer at the back Both is double breasted coat

Diferencies:

On the modern picture the coat more fitted to the body combining with the tight shirt and pants but on the old picture the coat is more loose to the body.

CHAPTER 4WORLD WAR I AND THE TWENTIES:EARLY ART DECO

Houndstooth patternis a duotone textile pattern characterized by brokenchecksor abstract four-pointed shapes, often in black and white, although other colours are used.

Similarities:

Both using black and white color

Diferencies:

On the modern picture that pattern apply to the knit fabric but on the old picture usualy using the woven fabric.

CHAPTER 5THE THIRTIES AND WORLD WAR II:LATE ART DECO

Fedora HatThe hat is typically creased lengthwise down thecrownand pinched in the front on both sides.

Similarities:

Both using dark color Both is the same silhouette

Diferencies:

On the modern picture that didt used ribbon, but an the old picture used it. On the modern picture that hat used not only useable as hat and cover head from weather but more used as a style but in the old era this is more useable.

CHAPTER 61940:THE COLD WAR

epaulettea type of ornamental shoulder piece/ decoration use to fasten insignia/ emblem

Similarities:

Both attach on the shoulder Both is ornamental shoulder

Diferencies:

On the modern picture that epaulette used by woman but in the old picture that usualy used by man . On the modern picture that used for the accessories but in the old picture used to fasten insignia/ emblem On the modern picture that not part of the clothes but in the old picture is part of the clothes.

CHAPTER 71950

Duck Arsea hair cut that was popular in 1950s its also called the ducks tail, the ducktail or simply D-A.

Similarities:

Both is a hair style looks biger in the front of head and sometimes cover the forehead.

Diferencies:

On the modern picture that hair cut is more flowy than the old picture is more stiff. The modern picture didnt used sideburn than the old picture.

CHAPTER 81960

Psychedelic Patternmeans mind manifest, is an art movement of the late 60s having the vivid colours and complex patterns popularly associated with the visual effects of psychedelic states

Similarities:

Both is a having vivid colours and complex patterns

Diferencies:

On the modern picture that pattern combining with the more than one pattern and put in together as a clothes in the old picture is only one pattern with blend color.

CHAPTER 91970

Dreadlockare matted coils of hair. Most dreadlocks are usually intentionally formed. Dreadlocks are associated most closely with theRastafari movement.

Similarities:

Both are matted coils of hair

Diferencies:

On the modern picture that hair used by woman but in the old picture is used by man On the modern picture hair is dye by colourfull color but in the old picture is used by natural color of the hair.

CHAPTER 101980

Flattop Hairis a type ofcrew cutwhere the hair on the top of the head.

Similarities:

Both is used by man

Diferencies:

On the modern picture that hair used by white man but in the old picture that hair used by black man.

CHAPTER 111990

Eclecticderiving ideas, style, or taste from a broad and diverse range of sources.

Similarities:

Both is used by man

Diferencies:

On the modern picture the silhouette is more fitted than the old picture.

CHAPTER 122000

Heringbone Patternis an arrangement of rectangles used for floor tilings and road pavement, so named for a fancied resemblance to the skeleton of a fish such as aherring.

Similarities:

Both is still used herring pattern Both can used by man and woman Both usualy used for suit

Diferencies:

On the modern picture the pattern is a little bit diferent than the old picture.