Fashion Figures With Modern Dress Fashion Figures With Gowns

Jeanne Paquin (1869-1936), fashion blueprint, Paris, 1907. Museum no. Eastward.1432-1957

1900s

For almost of the showtime decade of the 20th century, mode mainly showed seasonal modifications rather than any cardinal changes. However, as the century unfolded, the concept of the 'natural figure' banished the corseted and exaggerated S-shaped figure that was fashionable at the starting time of the decade. These innovations, a pregnant liberation for women, were accompanied by the introduction of strong and vibrant colours.

'Originality and Opulence': the House of Paquin

In 1890 Jeanne Paquin (1869 - 1936) and her husband Isidore Paquin opened their Maison de Couture Rue de la Paix in Paris, close to the historic House of Worth. Paquin soon became famous for introducing coloured lining to otherwise mournful looking black coats, and for adding embellishments of lace or rich embroidery to black dresses. The innovative yet subtle use of furs became ane of the business firm's trademarks. In an historic period when mode advertisement was in nonetheless in its infancy, Jeanne Paquin was the kickoff couturier to send mannequins to the trend-setting and trend-spotting races at Longchamp and Chantilly.

In 1900 Jeanne Paquin was elected president of the Mode Section for the Universal Exhibition and, throughout her career, many of her creations participated to those international fairs. The originality and opulence of Paquin's designs soon bolstered the international reputation of the fashion business firm. One of her greatest achievements was the opening of strange branches in Buenos Aires, Madrid and London - she was the start Parisian couturier to take this step and many followed her lead. She was the starting time woman in her field to be awarded the Légion d'Honneur in 1913.

At Jeanne Paquin's expiry in 1936, the firm passed into the hands of the Spanish couturier Antonio Canovas del Castillo. Paquin bought the House of Worth in 1953 simply closed its doors on i July 1956. The Five&A has a magnificent drove of Paquin sketch books, ranging from 1897 to 1956.

1910s

The 1910s were a period of dramatic change in manner. Though many trends had their roots in fashions of the previous decade, the Start World State of war cemented the move towards more than applied, less restrictive clothing. Equally women were chosen into factories and offices, fashionable clothes simplified and shortened.

Florrie Westwood

Florrie Westwood (dates unknown) was a London designer active in the early part of the 20th century. Nothing much is known about her apart from her drawings, from which we tin can see that she produced elegant high-end, if conservative, fashions. Many hundreds of now-anonymous dressmakers and designers like her existed in towns and cities across the country until the middle of the 20th-century mass-marketplace fix-to-wear clothing came to dominate fashion.

ane) Florrie Westwood, fashion design, London, 1918-9. Museum no. E.1539-1977

1) The three 'Original Designs' in the image from 1918 - 1919 are very typical of the late 1910s. They feature high waists and feminine materials and colours. They as well anticipate the androgynous wait of the 1920s with their linear, straight silhouettes. The designer'due south own descriptions of the dresses, written next to them are:

'Left: Clothes of mauve taffeta and ninon, with insertion of ivory lace. The sash is of mauve ribbon to match the dress.

Centre: A simple evening apron of powder blue satin & crush pink tulle. The wide sash is pansy black ribbon with bright appliqué orangish flowers.

Right: Frock of ivory crepe georgette, with two deep bands of peach coloured self material. The insertion is very fine lace.'

two) This style analogy portrays three afternoon dress designs drawn in pencil and colour wash. Information technology is signed and dated past the artist. Such a collection of designs seen together demonstrate the increasing trend for women to abandon the restrictive corset. During the early years of the 1910s, designers started to promote the use of lighter and softer fabrics in gild to make their creations increasingly free flowing. This new approach focussed on fluidity provided a contrast with the stiff and S-Bend silhouettes of the previous decades.

3) These 4 different designs for winter coats by Florrie Westwood are dated fifteen January 1919. They emphasise the new mode for the linear silhouette and ankle length designs. They likewise show the new shape (college neck covering and greater shoulder coverage) of fur collars and cuffs.

3) Florrie Westwood, fashion design, London, 1919. Museum no. E.1538-1977

2) Florrie Westwood, fashion design, London, 1918. Museum no. Eastward.1536-1977

Melanie Vermont

The designs by Melanie Vermont (1897 - 1972) in the V&A collection were given to the museum past Mrs One thousand. Goldflame, the niece of the creative person. At that time, Mariano Fortuny (1871 - 1949), a Spanish designer based in Venice, invented a new special pleating process and new dyeing techniques for his wearing apparel designs. His innovative designs were inspirational to other designers, simply also hugely successful as they gave women the freedom of movement they had been peckish.

iv) These two evening dress designs in pencil by Melanie Vermont in the image to the right are practiced examples of how, at that period of time, designers increasingly used flowing fabric which enabled them to create dresses with elaborate drapes, thereby moving away from the restrictive corsets stylish in the previous decade. During the early on years of the 1910s, designers started to promote the use of lighter and softer fabrics in society to make their creations increasingly free flowing. This new approach focussed on fluidity provided a contrast with the stiff and Southward-Bend silhouettes of the previous decades. The tunic in the right hand design is made out of pleated material.

5) This illustration shows five designs for girls costume in pencil and colour wash. In this decade, the emphasis for children's dress changed from the waist to the hip, and dresses and skirts too became shorter (above the knee) every bit shown in these designs. The central figure is wearing a green coloured solar day wearing apparel with a pleated skirt and an elaborate belt which matches her small collar and the sleeve cuff. As well shown are two coat designs. The second figure to the left is wearing a white and reddish chequer short coat with Alamo buttons whereas the further figure on the correct is wearing a white and navy striped coat with crewman navy collar and matching cuffs.

iv) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. Eastward.957-1977

5) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. E.954-1977

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1920s

Developments in fashion following the war were greatly influenced by the changing attitudes of women. Younger women were empowered by their wartime independence and deliberately flouted the style preferences of their mothers' generation for flounces, frills and lace. They cropped their hair and wore skirts to the articulatio genus, with simple, linear dresses that gave them a boyish silhouette.

Norman Hartnell

6) Norman Hartnell (1901-79), mode design, London, 1920s. Museum no. E.29-1943

London-born Norman Hartnell (1901 - 79) fix his fashion house in 1923 and soon became famous for his lavish and romantic evening and conjugal gowns. Hartnell is credited with introducing the longer-length skirts that would marking the end of the flapper era and his designs were sought after by the sophisticated British 'aristocracy'.

Very much a 'gild' dressmaker, Hartnell is, however, maybe all-time known for his long-standing association with the English Majestic family. He designed the apparel worn by Queen Elizabeth for her wedding to Prince Philip, the Knuckles of Edinburgh in 1947, as well as her coronation robes in 1953. In 1977, Hartnell was appointed KCVO, the first knighthood conferred for services to fashion.

6) Hartnell designed this dress with ii materials in mind: the under dress is of solid material and is covered from shoulder to hem with chiffon. The wearing apparel has a boat neck line with tight sleeves upward to the elbow where they fan out with 'scollop' edging. This matches the hem of the wearing apparel. Hartnell supplemented the design with a beaded belt with tassels, matched with a band of beads on the sleeves. The design also shows a large head band with sparkling embroidery. The simplicity and grace of this dress would have been perfect for the fashionable cocktail parties of the era.

Hilda Steward

Nothing much is known virtually Hilda Steward apart from her drawings, from which we tin run across that she produced elegant loftier-finish fashions. Many hundreds of now-bearding dressmakers and designers like her existed in towns and cities across the country until the middle of the 20th century, when mass-market place fix-to-wear clothing came to boss mode.

vii) This sleeveless evening apparel was designed by Hilda Steward in 1920 appears to be fabricated in satin with a short lace three layer overskirt hanging from the belt. The belt is slightly higher than the waist in the front end and supports the overskirt only from the side to the back - leaving the front completely free.

The figure is wearing a bracelet above the elbow and a large caput band typical of the 1920s to hold the new short fashionable pilus cutting. The designer'due south signature appears in the lesser right hand corner in the grade of her two initials overlapped, including the date running alongside it in a vertical strip.

8) This is a design for an orange day apparel with an overskirt made past ii pleated panels. The effigy is holding a fur wrap which looks similar Sable; information technology matches some fur details on the dress including those on the hem. The large brim black hat has two Ostrich feathers.

The belt is to be held by a golden ornament. The designer'southward signature appears in the bottom right manus corner in the class of her two initials overlapped, including the date running aslope it in a vertical strip.

8) Hilda Steward, fashion pattern, London, 1923. Museum no. E.1039-1988

7) Hilda Steward, fashion design, London, 1920. Museum no. E.1045-1988

Victor Stiebel

Victor Stiebel (1907 - 73) was born in South Africa in 1907 but settled in England in 1924. After working for iii years at the Business firm of Reville, he opened his own manner house in 1932. A founding member of the Incorporated Order of London Manner Designers, Stiebel was appointed its Chairman in 1946. Stiebel was highly successful and his clientele included the leading actresses of the twenty-four hour period, but likewise royalty and members of the elite. He created the going-away outfit for Princess Margaret on her marriage to Lord Snowdon in 1960.

The designs by Victor Stiebel in the V&A collections cover the period from 1927 to 1935.

ix) The face up of the model in this drawing, with the heavily emphasised eyes, follows the tradition established by silent-screen star Theda Bara, who popularised the word 'vamp' (a contraction of vampire, which she played in 1 of her films) to hateful a predatory female, whose heavily khol-encircled eyes were her most memorable feature.

The combination of hair and neckband throw emphasis onto the eyes and claret red lips. The bare left shoulder is balanced by the weight of the pilus being also on the left, while the bare shoulder and leg, at once revealed and concealed past the fabric strips, hint at intention and concealed delights.

10) This is a Stiebel design for an evening gown in black and silverish with an appliqué or embroidered snaked coiled round it from an uneven hem to bodice. It is hitting and original in all its details. The inside of the clothes is lined in green - this contrasts the black exterior.

The dress has a square cervix line with large shoulder straps. The model is wearing a pearl chocker with matching earrings and bracelet. The short bob hair cut with a fringe was typical of this era. At that place is a slight sketch for a dress on the mountain of this design.

ix) Victor Stiebel (1907-76), fashion design, London, 1928. Museum no. Due south.545-1983

ten) Victor Stiebel (1907-73), fashion design, England, nigh 1927. Museum no. E.1077-1983

1930s

Following the crash of 1929 and the Not bad Low, new, more than down-to-earth attitudes forced on the world offered great scope for a new simplicity, every bit encapsulated by Coco Chanel (1883–1971). In Britain, way became more eclectic but also more than feminine and graceful and, by 1930, the 'boyish' look had disappeared.

Victor Stiebel

eleven) Fashion blueprint, by Victor Stiebel, London, 1933. Museum no. South.544-1983

Since the mid 19th century, couturiers had dressed major theatrical stars. Victor Stiebel (1907 - 1976) had designed productions while at academy, earlier working in wearing apparel pattern at the House of Reville. In 1932 he opened his own fashion house and was soon in demand to provide gimmicky costumes for leading actresses. Mary Ellis, for whom this costume was designed, was a leading extra and singer, and to clothes her in a prestigious musical written by Jerome Kern and Oscar Hammerstein Ii and produced past C B Cochran would have been an first-class advertisement for the young couturier. He designed all her dresses in the production and those for her co-star, Eve Lister, and all the modern wearing apparel in the Zoo and rehearsal scenes; the residual of the costumes came coming from the Cochran wardrobe and the costume firm of Morris Angel & Son.

11) The clothes was the height of chic, with its huge pleated shoulders, bold bow, nipped in jacket and long brim. The gauntlet gloves helped balance the broad shoulders, while the large bow drew attention to the face. Although the pattern is coloured pale orange, the notes indicate that information technology should exist made in chartreuse green satin, contrasting with the skirt's ho-hum textile and the exotic fur of the gauntlet gloves. Such designs were meant to flatter the wearer rather than the wearer exist subservient to the designer and the leading lady would take had approving and maybe even a choice in the couturier.

12) The flared lower brim of this blueish dress by Stiebel is an example of the new cut introduced in this decade. The cutting is characterised past its simplicity and Stiebel introduced a neckband with a bow and tall cuffs all designed with multi-coloured ribbon to suspension the monotony.

These details match the slim orangish belt. There is an inscription in pencil reading: "I am enclosing bits of ribbon the blazon I should similar for the neckband and cuffs".

xiii) In the 1930s information technology became stylish to wearable 'house pyjamas' – trousers with large bottoms made in a soft fabric. This design by Victor Stiebel shows how this concept could be transformed for more formal occasions from business firm cocktails to cruise parties.

Like designs were also created by the Surrealist designer Elsa Schiaparelli. Stiebel's halter neck, sleeveless top contrasts the large bottom trousers wonderfully. The pattern includes bright orangish gloves, a skirt hat and matching shoes.

12) Victor Stiebel (1907-76), fashion design, London, 1934-5. Museum no. E.1075-1983

xiii) Victor Stiebel (1907-76), fashion design, London, 1934-five. Museum no. E.1074-1983

Norman Hartnell: fashioning royalty

14) Fashion design, by Norman Hartnell, London, 1936-9. Museum no. Eastward.37-1943

In 1935 Norman Hartnell received his offset Imperial commission and from that moment right up to his death in 1979 he continued to create original designs for the Regal family unit, of import members of British society, as well as international figures. The Five&A collections incorporate a great number of examples of Hartnell'south pre-war designs reflecting his highly sophisticated, elegant, and unsurpassed use of material and embroidery. These two After Six dresses were designed for H.R.H Princess Elizabeth; both are extremely feminine and fragile.

14) This evening dress was designed for H.M. Queen Elizabeth. A pencil inscription 'Gala' at the bottom of the page suggests that it was designed for an important occasion. The dress is entirely covered with an assortment of coloured sequences and would have undoubtedly bedazzled boyfriend guests. The boat line cervix is too trimmed with sequins; the sleeves are 3-quarter in length and embroidered to the tip of the shoulder.

The back has a long detached trail also fully embroidered edged with bluish and pink patterned sequins in the shape of pyramids. The Queen is depicted wearing a diamond tiara. This ensemble is further enriched by elaborate pearl necklace and matching earrings. Across the left shoulder the Queen is also shown wearing a purple sash - supported by a ruby and diamond jewel. This dress exemplifies Hartnell'south skill in designing dresses with elaborate embroidery.

fifteen) This pattern is a full-skirted tier dress with minute waist with tiered yoke forming puff brusque sleeves. The skirt is all threaded with light bluish coloured ribbon which emphasises the different layers. The dress is worn with matching jewellery and gloves.

The 2d design in pink net has a pointed waist band which holds a full cyberspace skirt scattered with stake blue ribbon. The body has a small heart shaped decolté trimmed with the same bluish ribbon and the sleeves are exaggerated short and puff. In addition at that place is a bloom decoration on the left side of her neck.

xvi) This blueprint for a formal evening apparel was specially created for H.Grand. Queen Mary. The dress falls in a straight line with a slight trail at the back. The elongated v-cervix line is trimmed with lace.

On summit of the apparel he created a loose jacket with sleeves trimmed with Mink fur and edged with lace. This luxurious ensemble is completed with a magnificent row of jewels at the neck and a sparkling tiara.

sixteen) Norman Hartnell (1901-79), fashion design, London, 1930s. Museum no. E.19-1943

fifteen) Norman Hartnell (1901-79), style design, London, 1930s. Museum no. E.fifteen-1943

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1940s

World War II had a profound issue on style and it became regulated and framed past government decrees. All the same, despite these strict regulations and the fierce upheavals brought virtually by war, couture design, led past a talented grouping of dressmakers, flourished.

The New Look

'I designed clothes for bloom-like women, with rounded shoulders, full feminine busts, and mitt-span waists above enormous spreading skirts.'

It is with those words that Christian Dior (1905 - 57), described the impact of his first collection in the Spring of 1947. At the time, rationing was still in identify and austere, war machine styles were worn. Dior introduced hourglass silhouettes and luxurious fabrics, softening previously indigestible shoulder pads and cinching the waist for a pronounced feminine await. So popular was his commencement collection that it was dubbed 'the New Look' by the printing and was instantly emulated past designers beyond the world.

17) Fashion design, by Marjorie Field for Field Rhoades, London, 1940s. Museum no. East.426-2005

17) This design past Marjorie Field depicts a woman wearing a tailored, printed suit and a large lid decorated with feathers on both sides. A double-row of buttons are sewn onto the waistline of the jacket giving an impression of a small waist. In her right hand, she holds an umbrella made out of the same fabric as the suit. Marjorie Field was a high-end London designer, who speedily adopted Dior's fashionable New Look silhouette into her designs.

eighteen) Italian-built-in René Gruau (1909 - 2004) moved to Paris in 1924 and started his career as fashion illustrator in the most prestigious magazines, including L'Officiel and Marie Claire. His collaboration with Christian Dior started in 1947 and Gruau, who perfectly captured the essence of the New Look, presently became an acclaimed figure in the world of Haute Couture. This cartoon was commissioned for the manner magazine 'Femina' around 1949.

19) This is a blueprint by Bernard Blossac (1917 - 2001). Blossac was a fashion illustrator, who regularly drew for Vogue, 50'Officiel and Harper'south Bazaar. This drawing depicts a black bolero with a floral blueprint in the 'New Await' way.

18) René Gruau (1909-2004), fashion illustration, Paris, 1949. Museum no. E.397-1986

19) Bernard Blossac (1917-2001), style illustration, Paris or London, tardily 1940s. Museum no. Due east.167-1987

Marjorie Field

Marjorie Field (Field Rhoades), fashion design, London, 1940s. Museum no. E.430-2005

The 5&A has a substantial drove of high quality designs by Marjorie Field for the couture firm Field Rhoades. The provenance of these designs tin be traced back to Gwen Mandley, an artist and friend of the designer. Field Rhoades was registered in the London street directories at 77, South Audley Street, London W1 for the years 1948–49; this corresponds to the date of the designs found in this drove. Marjorie Field likewise designed under the proper noun, or for the business firm, 'Matita'. Matita were a high-end ready-to-wear company who regularly advertised in Faddy during the 1940s.

20) Style blueprint, by Ursula Sternberg-Hertz, London, about 1947. Museum no. Due east.844-1989

Ursula Sternberg-Hertz

Ursula Sternberg-Hertz was a well respected painter who exhibited extensively in Europe and the U.s.a.. In the 1940s, she submitted a contest entry to the Ascher textile business firm in London, who were renowned for working with fine artists to create patterns and designs for silk scarves and piece of furniture fabric. She won 3rd prize but worked for the Ascher Studio for a year and for many years as a free-lance designer.

20) This painted sketch of a fashionably dressed female effigy decorates the front board of Ursula Sternberg Hertz'due south folder of designs for textiles and apparel, oiginally submitted to Ascher as part of an entry competition. This assuming and colourful board demonstrates the importance the designer gave to overall presentation. The inscriptions are in watercolour and read 'Sender Ursula Sternberg-Hertz London 30 Ch. De Boitsfort Bruxelles and Ascer Wigmore Street London'. The folder is held together with a dark-green velvet ribbon.

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1950s

Oftentimes associated with the rising of youthful, ready-to-vesture fashions, the fifties were nonetheless a prolific and successful decade for the fashion 'establishment' every bit embodied by couture houses and traditional dressmakers. Mode analogy continued to flourish in the plethora of magazines published at the time.

Sigrid Hunt

Sigrid Hunt (afterward Roesen) was a style illustrator and editor. She came to England from Berlin in the early 1930s and worked for prestigious publications including Vogue, Tatler, and The Sketch. From the late 1950s to 1971 she worked in Germany for the Sudkurrier Welt der Frau and Die Mode.

The various preparatory phases shown for the Tatler front end cover of v May 1954 here illustrated are a good example of the procedure and various stages of magazine illustration.

Sigrid Chase, pencil sketch, U.k., 1954. Museum no. Eastward.687-1986

Front encompass of Tatler, featuring blueprint by Sigrid Chase, five May 1954. Museum no. E.684-1986

Sigrid Chase, colour blueprint, Britain, 1954. Museum no. E.685-1986

Jean Demarchy

Jean Demarchy (dates unknown) was a 1950s style illustrator who worked in soft pastels to create romantic, abstract, images of couture. Arguably, illustrations such every bit these fitted meliorate with the luxurious and feminine ideal of couture than photography. These illustrations, especially from the Stiebel collection of 1953, brandish some of those shared aesthetics in the way they convey the soft, tactile nature of the fabrics.

Nevertheless, the privileged status of way drawing faded rapidly during the 1950s, and photography presently gained more than prominence in post-war magazines that wanted harder-hit imagery.

21) This epitome was drawn for Harper's Boutique around 1955. Information technology shows a glamorous evening dress by Christian Dior (1905–57), featuring a total skirt and elaborate hurry bow.

22) This illustration features an evening apparel past the London couturier Victor Stiebel (1907-76), drawn for Harper's Bazaar in 1953. Stiebel liked using bold, contrasting stripes in his designs, and also typically referenced historical clothes with voluminous panniers and bustles.

21) Jean Demarchy, mode illustration, Paris or London, near 1955. Museum no. E.685-1997

22) Jean Demarchy, fashion analogy, London, 1953. Museum no. E.686-1997

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1960s

Before the belatedly 1950s and 1960s, teenagers were expected to apparel and behave very much as their parents. The 'Swinging Sixties', withal, saw the emergence of a new youth market place every bit teenagers rebelled against the aesthetics and values of their parents' generation and established their own trends in fashion and music.

Amongst other things, the mini-brim was introduced, and couture was seen equally very old-fashioned. London - non Paris - was leading fashion now, nurtured by the city's fashion schools and colleges, who were providing creative environments for crops of young, talented designers.

Mary Quant

23) Mary Quant (b.1934), fashion design, London, mid 1960s. Museum no. Due east.520-1975

The daughter of Welsh school teachers, Mary Quant (born 1934) gained a diploma in Art Education from Goldsmith's College, London. In that location she met Alexander Plunket Green, who after became her business partner and husband. Apprenticed to a milliner, Quant began to make her own wearing apparel. These were influenced past the Chelsea beatniks she knew and trip the light fantastic outfits she remembered from childhood lessons.

In 1955, at a fourth dimension when 'manner wasn't designed for young people', Quant opened Bazaar, a boutique on the King'south Road. She devised eye-catching window displays to concenter customers. Her wearing apparel were made up of elementary shapes combined with potent colours like scarlet, prune and green. Prices were low compared to those charged for haute couture.

Famed for popularising the mini skirt, in 1966 Quant was awarded an OBE. In the early 1960s her designs were bought by the chain store J.C. Penney to be mass produced for the American market. The Quant label began to appear worldwide on accessories and brand-up.

23) This blueprint has a liberty bodice, long narrow sleeves and a front end vertical zip. The skirt is very short and trimmed on the edge with a yellow color. The same colour tights are worn. At that place is a pocket-sized babe collar and a very narrow chugalug with a front buckle. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and continued for quite a while afterwards this.

24) This bold design for a putty aubergine mini dress is fabricated with a minor liberty bodice with a full mini skirt fastened to it. The top of the dress has a cow neck in yellow material inside and on the exterior is beige with yellow.

There is a matching head scarf, belt and cuffs. Mini skirts and dresses were a highly fashionable new tendency in the late 1960s and continued for quite a while after this.

25) In this design Mary Quant decided to ignore the waist and added a very brusque frill brim fastened to the torso of the apparel creating the 'mini' result. The sleeves are very short and bounded by glace kid red leather. The main dress is made out of pinkish Jersey wool.

The collar and the front slit are all bounded past the same slippery kid leather as the sleeves, the leather has brass eyelets to enable the threading of shoe lace type ribbon. Mini skirts and dresses were a highly stylish new trend in the belatedly 1960s and continued for quite a while after this.

24) Mary Quant (b.1934), mode blueprint, London, mid 1960s. Museum no. East.525-1975

25) Mary Quant (b.1934), mode design, London, mid 1960s. Museum no. E.523-1975

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1970s

The 1970s were a pioneering decade, and saw the evolution of fashion into a announcement of individuality. Seen equally the reflection of the sense of taste of the wearer, one of the consequences of these sartorial changes, was that fashion increasingly, became the concern of men too as women.

'Manly Sweater' fashion blueprint, past Patrick Caulfield for Ritva, London, 1972. Museum no. E.413-2005

Ritva and Patrick Caulfield

The Ritva knitwear firm was fix by Mike and Ritva Ross in 1966, producing revolutionary machine-knitted womenswear in assuming colours and slinky shapes. These were sold in some of the nearly stylish department stores and King's Route boutiques, and from 1972, in the Ross'due south own store.

A new direction in men'due south knitwear came in 1969 when Mike Ross designed a line of appliquéd 'Ritva Homo's' sweaters inspired by baseball game shirts (the V&A collection includes a image, Museum no. T.14-2000). Each sweater was unique, with its ain colourway.

This led to the Artist Collections of 1971 and 1972, when Ross invited artist friends, including David Hockney and Elizabeth Frink, to pattern 'wearable works of fine art'.

Artist Patrick Caulfield's (1936-2005) 'Manly Sweater', with its appliquéd leather patches and 'trompe 50'oeil' pipe, is an ironic version of traditional 1950s masculinity. The V&A has also acquired Caulfield's original drawings for the sweater and seen together these represent an unusual document of a collaboration betwixt art and fashion.

This coloured pencil drawing on newspaper includes an chemical element of collage. Ane smaller piece of newspaper with a single drawing is mounted on a larger piece of newspaper with further drawings. Drawings depict various versions of a pipe and breast pocket. I breast pocket cartoon also depicts an image of a bird. Some annotations on black pencil, including the artist's proper noun and championship 'P C Manly sweater'.

Patrick Caulfield (1936-2005) for Ritva, 'Manly Sweater' manner blueprint, London, 1972. Museum no. Due east.414-2005

Patrick Caulfield (1936-2005) for Ritva, 'Manly Sweater', London, 1972. Museum no. T.eighteen-2000

John Bates

A prolific and innovative designer, John Bates (b.1938) often incorporated metallic, plastic and transparent fabrics in his creations. He is perchance all-time remembered as the designer of Diana Rigg's wardrobe for the television receiver series The Avengers in 1965.

26) This 1978 apparel in silk is an interesting design with square shoulders and blouson torso and an intricate cut total brim. There is a tie belt around the waist and the sleeves have flare cuffs similar to the high collar.

27) This 1974 blueprint is for a long printed Kaftan with an undulated bottom. The sides are finished with tassels. The print is specially beautiful and private you tin can come across the particular of stylised flowers and birds. This is complemented by edge stitching effectually the Kaftan. The exotic element to this design makes it particularly hitting.

26) John Bates (b.1938), manner design, London, 1978. Museum no. Eastward.570-1975

27) John Bates (b.1938), fashion design, London, 1974. Museum no. East.569-1975

Zandra Rhodes

A graduate of the Royal College of Fine art, Zandra Rhodes (b.1940) became famous for her prints on chiffon, and her use of flamboyant, bright colours. Her designs were considered likewise extravagant by British manufacturers and she set up her own retail outlet on Fulham Road, London, in 1969. Rhodes' extravagant advent and mode oft attracted considerable publicity. She is credited with having introduced Punk fashions to the mode manufacture with her 1977 drove entitled Punk Chichi.

Zandra Rhodes (b.1940), blueprint for a fur coat, London, 1970s. Museum no. C.282-1974

Zandra Rhodes (b.1940), pattern for a fur glaze, London, 1970s. Museum no. C.286-1974.

Bill Gibb

28) Bill Gibb (1943-88), fashion design, London, 1970. Museum no. E.123-1978

Beak Gibb (1943–88) was a way designer whose creations defined the 1970s wait. He opened his boutique Alice Paul in Kensington in 1967 and commencement designed for the youth market, with clean lines that diameter the banner of contemporary trends. In the 1970s, his style developed along eclectic and romantic lines inspired by the hippie scene and by medieval and pre-Raphaelite painting.

28) This is a fashion pattern for a long pleated skirt, long-sleeved blouse, laced jerkin and cloche hat, with two fabric samples attached. This design featured in Vogue in 1970, and the Dominicus Times amongst other magazines. This pattern shows how different wool fabrics are used with contrast color and blueprint.

29) Jacket design with beret.

30) This is a pattern for a printed leather and suede pattern jacket with a hood. The Patterns seem influenced by indigenous designs. Other designs in the later 70s started to utilise a mixture of different fabrics and colour, for example leather with chiffon) This design is a skillful example of how leather was processed in a more fashionable and colourful mode during this period.

29) Bill Gibb (1943-88), fashion design, London, 1976. Museum no. East.127-1978

30) Nib Gibb (1943-88), fashion pattern, London, 1976. Museum no. E.128-1978.

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1980s

The increasing profile of women in the work place required a new fashion aesthetic, and the decade witnessed the emergence of 'Power Dressing'. Wide, padded shoulders became fashionable and women'due south dress were inspired past masculine mode and tailoring traditions. The menstruation also saw the display of lavish evening vesture, every bit exemplified by the opulent dresses of Oscar de la Renta.

Oleg Cassini

Oleg Cassini (1913–2006) was a prominent American fashion designer who famously dressed Jackie Kennedy, during her years in the White Business firm. Cassini too had a lucrative set up-to-wear and licensing business with a wide range of branded accessories and cosmetics.

Fashion design, by Oleg Cassini, United States, 1988. Museum no. E.25-2000

Fashion design, by Oleg Cassini, Us, 1988. Museum no. E.24-2000

Bill Gibb

Bill Gibb (1943–88) was a fashion designer whose creations defined the 1970s wait. He opened his bazaar Alice Paul in Kensington in 1967 and first designed for the youth market, with clean lines that bore the banner of contemporary trends. In the 1970s, his manner developed along eclectic and romantic lines inspired by the hippie scene and past medieval and pre-Raphaelite painting. His romantic artful was less successful during the 1980s and he presented his last full collection in 1985.

The drawing below right shows a pattern for the pop star Lynsey de Paul, for her performance at the Royal Variety Show, 1986. It is executed in colour wash, black ink and felt tip pen. By this time, Gibb'south business concern was failing and this blueprint may exist one of his last.

Way design, by Bill Gibb, London, 1986. Museum no. E.522-1993

Costume pattern, past Bill Gibb, London, 1986. Museum no. East.523-1993

Antoni & Alison

The London based fashion design duo, Antoni & Alison, are Antoni Burakowski and Alison Roberts. They met in 1982 when studying manner at St Martin's college. They are known for their eclectic and playful designs, including ranges of slogan and vacuum packed T-shirts.

Antoni & Alison, way design, London, late 1980s. Museum no. E.679.2-1997

Antoni & Alison, fashion design, London, belatedly 1980s. Museum no. E.680.two-1997

Antoni & Alison, fashion design, London, late 1980s. Museum no. E.679.2-1997

Manolo Blahnik

Manolo Blahnik (b. 1942) is one of the most prominent and successful shoe designers of his historic period. His creations were famously immortalised in episodes of Sex activity and the City, and his name is at present synonymous with luxurious and exquisitely designed shoes. He was awarded an honorary championship of Commander of the British Empire in the Queen's 2007 Birthday Honours List, for services to the British fashion industry.

These designs are for ladies shoes, for possible production past Zapata Shoes Ltd, London, 1980.

Manolo Blahnik (b.1942), design for a shoe, Uk, 1980. Museum no. E.1334-1979

Manolo Blahnik (b.1942), blueprint for a shoe, Britain, 1980. Museum no. Due east.1331-1979

Manolo Blahnik (b.1942), design for a shoe, Britain, 1980. Museum no. East.1332-1979

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