VINTAGEF A S H I O N I N T H E 5 0 s
1950’s Women’s GloveEtiquette
Fashion Compared from 1950
to Now!December 2014
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TABLE OF CONTENTS
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1950’s Fashion
1952’s Fashion
Fashion Then To Now
1954’s Fashion
1950’s Women’s Etiquette
4 & 5
6 & 7
8 & 9
10 & 11
12 & 13
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13 12
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1950 Fashion remained deliberately fluid when they all swing one
feelers were cast in the direction of the 1920s, especially by
Hardy Amies, who showed suits with straight unbelted
hip-hugging jackets over straight skirts.
Dior launched a “vertical line” - sheath
dresses whose narrow straightness was
emphasized by fine pleating or tucking, or
by narrow ribbon bands running from
neck to hem.
The basis was a figure-fitting sheath,
but only in certain instances was this left
in a simple, uncompromising form.
Simple tailored coats in chiffon, lace and organdie
floated over narrow summer dresses. Loose coats in
thin silk were worn over suits, and the prettiest evening
coats were those which added no whit of extra warmth but
floated with the transparent buoyancy of balloons over narrow or
crinoline evening dresses.
Although the straight hip-hugging jacket did not seem to
make much headway in its extreme form, modified versions
of the same feeling were seen in the prevalence of low
buttoning and low-placed pockets. Many
suits were open to the waist, and buttoned
importantly below it. Revers became
almost waist-length, leaving a horse-shoe
opening over a blouse.
In the spring Dior first showed a dress
slim to the knees and then breaking into
pleats which developed by the autumn into the full flare of
the trumpet skirt. This, in day and evening versions, swung
in heavy pleats or stiffened flares, from knee-level, below
the simplest of sheaths.
“...the prettiestevening
coats”
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1952No final answer to questions about the waistline was given in 1952.
The phrase “the wandering waistline” was coined at the Paris
spring collections and the waist continued to wander to the point of
disappearing, throughout the year. High waist, low waist, natural waist,
no waist: all had their devotees.
Dior’s markedly high waists melted, as the year went on, into a
development of his earlier princess dresses a molded figurine line,
which followed the figure as closely as a swim suit from high neck
through waist to hips, and then flared gently. wonderful ease, being cut
just not to touch the body.
Each line called for a different type of corsetting, a different figure,
a different posture, a different personality. Whether the two could
continue to exist side by side or whether one would eventually triumph
over the other remained to be seen.
It seemed that, since the end of World War II, fashion was
taking a long time to settle into an accepted form which
would stand, historically, as the look of the mid-century;
but maybe it was part of the character of the time to
allow this latitude for women to suit themselves
instead of forcing them into a mold that might
be suitable or unsuitable.
Interesting adjuncts to the waistline
controversy were a legion of
boleros and spencers; with pretty
feminine pleating breaking from
them to form an entire dress; belts low
slung at the back or following the hemline
of jackets; belts buckled across the chest
or, on the contrary, cummerbund belts, wide or
elasticized, the better to grip the midriff.
“High waist, low waist,
natural waist,no waist”
“...withpretty
femininepleating”
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1950Pencil Skirts
Ful l Skirts
Dolman Sleeves
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2014
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1954 1954 wanted a prominent, pointed bosom and a straighter,
softer silhouette. Many U.S designers featured relaxed
waistlines, placed less importance on the bust and placed
belts, sashes and drapery at the hip. The intent was to
give the appearance of a longer torso.
Dior presented the H-line, which had
a silhouette relatively straight from
shoulder to hip. His designs were
strikingly different, raising the bust
nearly two inches.
1954 fashion was marked by a subtle,
elegant mood. Soft and often brightly
colored, high quality fabric was in
high demand.
The costume look was in full swing in 1954.
Coats nearly always came with matching
dresses and jacket costumes were accompanied by specially
designed overblouses.
“subtle,elegantmood”
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1 9 5 0 s Wo m e n ’ s Gl ove s E t i q u e t t e
When a Lady Removes GlovesGloves must always be removed before eating, drinking, smoking, or putting on
makeup. When lunching in a restaurant, a lady removes her coat but keeps on her hat
and gloves, removing her gloves when seated at the table.
At dances, long gloves would be part of a lady’s ensemble and as such, kept on. The
glove fingers should be tucked into the opening at the wrist while smoking or drinking,
and the gloves removed entirely immediately upon sitting at the table.
When gloves are worn merely as a covering for the hands (such as heavy winter
gloves), they should be removed with the coat.
Color, Style, and LengthWhite or beige gloves are equally appropriate for any costume with which colors
will harmonize. Black gloves are always smart. Formal occasions do not demand, but
somehow suggest, white gloves.
The length of the glove is decided by current fashion and the length of the sleeve.
Shortie gloves to 8- button length are normally worn on the street, in the daytime and
for informal evenings. Long gloves are usually reserved for more formal occasions.
The style of glove is dictated by fashion and the style of the lady’s outfit.
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