Dating old photographs from clothes worn in the 1950s

Photograph of Eve Boswell, 1950s

Photograph of Eve Boswell
Harry Hammond (1920-2009)
1950s, Great Britain
Harry Hammond Collection

This photograph of the pop singer Eve Boswell (1922-98) shows her in a typical 1950s evening dress. The dress features a full, almost ankle-length skirt with sunray pleats. Her hair is cut quite short and set with curls around the face.

Photograph of Lita Roza, Harry Hammond

Photograph of Lita Roza
Harry Hammond (1920-2009)
1950s
Great Britain
Harry Hammond Collection

This photograph shows the 1950s pop singer, Lita Roza, in fashionable '50s dress. She wears a  full, mid-calf length skirt with several petticoats underneath for volume, teamed with a colourful cardigan.  Her hair is cut fashionably short, and she wears bright red lipstick.

Illustration for The Lady, Marcel Fromenti

Illustration for 'The Lady' magazine
Marcel Fromenti
1950-4
England
Pen and ink on paper
Museum no. E.1602-1954

The coats illustrated here are typical of the 1950s. The coat on the right has sloping shoulders and a long, full skirt, reflecting the prevalent 1950s silhouette. It would have accommodated a voluminous 'New Look' style skirt underneath it. The coat on the left hangs from the shoulders, and would have been worn over narrower pencil skirts or day dresses.

Women usually wore hats outdoors in the 1950s, and the small pill-box type (as seen here) was very fashionable.

Single-breasted suit, Carr

Single-breasted suit
Carr, Sonn & Woor (tailors)
1951
London
Woollen twill
Museum no. T.69toB-1976
Given by Mr A. MacKay

This distinctive style comprising bowler hat, fitted jacket and tapered trousers with waisted overcoat and velvet collar evolved shortly after the Second World War - in the late 1940s and early 1950s. It is attributed to a group of fashion-conscious young men, some of whom were formerly officers in the Brigade of Guards. They were subsequently christened The Edwardians and were reputed to be the inspiration of the 'Teddy Boy' fashions of the 1950s. (Teddy derives from Eddy, a diminutive of Edward.)

The originators were probably influenced at first by their familiarity with the customary civilian dress for Guards officers, which consisted of a bowler hat, a double-breasted overcoat known as a 'British warm', a striped shirt with white collar and pin-stripe trousers. The traditional and conservative styling of these overcoats and trousers would have blended in quite naturally with the 'Edwardian' image. The donor to the Museum of this suit took his inspiration directly from the Edwardian period (Edward VII reigned 1901-1910) by requesting his tailor to copy a suit worn by Sir Winston Churchill in 1911 that was shown in a photograph of the time.

Photograph of Patti Lewis, Harry Hammond

Photograph of Patti Lewis
Harry Hammond (1920-2009)
1950s
Great Britain
Harry Hammond Collection

This photograph shows the pop singer Patti Lewis in her dressing room. Her hair is cut short and set in curls, which is a typical style of the 1950s. She wears light eye make-up and bright red lipstick. She wears casual, youthful dress, inspired by teenage and rock and roll fashions.

Suit, Balenciaga

Suit (jacket and skirt)
Cristóbal Balenciaga (1895-1972)
Autumn/winter 1954-5
Paris
Tweed, lined with silk
Museum no. T.128&A-1982
Worn by Mrs Opal Holt and given by Mrs Haynes and Mrs Clark

This suit comprises a fitted jacket and slim-fitting skirt with a kick pleat at the back. It was shown in Balenciaga's Winter collection in 1954 as model no. 55. It reveals Balenciaga’s debt to his training in tailoring in Spain and his capacity for choosing fabrics fit for purpose. His suits were highly regarded and commanded high prices. In the early 1950s, a made-to-measure woollen suit from Balenciaga cost about £112, a sum well beyond the reach of most consumers.

He was adept at manipulating firm fabrics. The style of jacket relies for effect on careful fitting to the body in front and gentle fullness at the back, and in the setting of the sleeves. Balenciaga was renowned in the trade for inspecting and resetting sleeves that were not perfect.

Tweed was a sturdy woollen fabric that appealed to Balenciaga because of the optical illusions created by the two or more colours in the indistinct flecked pattern.

Dress and coat, Norman Hartnell

Dress and coat
Norman Hartnell (1901-79)
1958
London
Silk taffeta
Museum no. T.170&A-1990
Worn and given by Mrs Wyndgate

This dress is typical of a conservative ensemble of the 1950s.  This might have been worn by an older woman, with a hat, gloves and handbag for a special occasion such as a wedding.

Hundreds of tiny pin-tucks cover the entire surface of both dress and coat in this blue-green silk ensemble by Hartnell. The detail around the top of the outfit shows how the garment is formed from interwoven strips of silk in a simple basket weave, a play upon the construction of woven fabric which is further emphasised by the patterning of the narrow tucks.

Dress, Horrockses

Dress
Horrockses Fashion
About 1955
England
Printed cotton
Museum no. T.639:1 to 3-1996
Worn and given by Mrs Elizabeth Payze

Horrockses’ cotton dresses, with their brightly coloured prints and full gathered skirts, were a fashion success story for the post-war period. Horrockses was a large cotton manufacturing firm, founded in Preston in 1791, known for weaving high quality household cottons. In 1946 they launched Horrockses Fashions Limited, a subsidiary company making ready-to-wear dresses, housecoats and beachwear, with a headquarters in London's Hanover Square. The success of the firm was due to the quality of the design of the vibrant printed cottons, often commissioned from artists, combined with advanced production methods, which maintained the crisp cotton despite frequent washes.

Dresses from Horrockses Fashions appealed to women of different ages and social backgrounds as the perfect summer dress. They were relatively expensive and were popular with members of the Royal Family - but working women would save up to buy one, often as a honeymoon outfit. This example was worn by Elizabeth Payze as a teenager.

'Ecarlate' cocktail dress, Christian Dior

'Ecarlate' ('Scarlet') cocktail dress
Christian Dior (1905-57)
1955
Paris
Silk grosgrain, lined with silk, nylon and organza net, and tulle; with spiral steel 'boning' in the bodice
Museum no. T.25-2007

Christian Dior (1905-57) launched his couture house in 1947, and soon became one of the most successful fashion designers of the 20th century. The smooth silhouette of this dress is formed by underpinnings and petticoats. The draped fabric knot is inspired by 19th-century dress, and is typical of Dior's historicism.

Dior often named his collections after letters of the alphabet, and this particular dress comes from the 'Y line'. The deep v-neck of this dress typifies Dior's 'Y' motif, as does the inverted Y shape of the pleats of the skirt

Evening dress, Worth London

Evening dress
Worth London
About 1955
London
Silk dupion with embroidery of sequins, pastes and crystal beads; lined with taffeta and faced with net
Museum no. T.214&A-1973
Given by Mrs Roy Hudson

The House of Worth, established in Paris in 1858 by Charles Frederick Worth (1826-95), was the original and founding couture house. Worth London was an offshoot of the original. It created refined, well-mannered garments for a mainly English clientele for the London social season.

Mrs Roy Hudson was a friend of Miss Whistler, Worth's head vendeuse (personal saleswoman). She purchased Worth gowns between 1947 and 1962. This dress dates from about 1955, when Owen Hyde-Clark was the chief designer. Worth was known for delicately embroidered dresses in shades of champagne and rose, and this dress is typical of the house's style.

The skirt is cut as a complete circle. It needed many layers of petticoats to fill the skirt and show the embroidery to its best advantage.

Worth (London) Ltd closed in 1967.

Cocktail dress, Mme. Grès

Cocktail dress
Mme. Grès (1903-94)
About 1955
London
Spotted net with gathered side drape
Museum no. T.245&A-1974
Given by Mrs Leo d'Erlanger

Cocktail dresses gained a new popularity after the Second World War. They were worn at early evening or '6 to 8' gatherings. Since guests usually stood and mingled the gowns could include complex bustles and skirt details, which would be crushed if sat on.

In his book 'The Little Dictionary of Fashion' (1954) Christian Dior (1905-57) described cocktail dresses as 'elaborate and dressy afternoon frocks', preferably in black taffeta, satin, chiffon and wool. These confections became the personification of the 'little black dress' and were often accessorised with gloves and small, elaborate hats.

Photograph of Dennis Lotis, Harry Hammond

Photograph of Dennis Lotis
Harry Hammond (1920-2009)
1950s, Great Britain
Harry Hammond Collection

This photograph shows the popular 1950s singer, Dennis Lotis. He wears loose chinos and a pastel coloured, check sweater with a collar. Knitwear separates were very popular for men during the 1950s, and tank-tops, cardigans and jumpers were often worn with open neck shirts or sometimes with shirt and tie. Lotis' hair is worn in a fashionable side parting, but slicked to the side and back with Brillcreem.

Fashion photograph, John French

Fashion photograph, Barbara Goalen
John French
1950s
London
John French Archive

This photograph shows 1950s supermodel, Barbara Goalen, modelling a 'New Look' style outfit. The skirt is full, the waist cinched in with a belt, and she wears a wide saucer hat. The exaggerated hourglass figure was the fashionable ideal for women during the 1950s.

Dress, Jean Dessès

Dress
Jean Dessès  (1904-70)
About 1955
Paris
Wool and sun-ray pleated silk taffeta
Museum no. T.104-1982
Given by Mrs D. M. Haynes and Mrs M. Clark

The little black dress was a classic design. Women could wear them for work during the day and then, with a change of accessories, wear them out in the evening. This version was designed by Jean Dessès in about 1955. It has a modest bodice with a high neck and long sleeves. The bodice is made in matte wool and fastens in the front with self-covered buttons. It has been cut and fitted to fit closely. The skirt is made of pleated lustrous silk taffeta.

Evening dress, Michael Sherard

Evening dress
Michael Sherard (1910–98)
1958
London
French re-embroidered ribbon lace, with taffeta
Museum no. T.403-1974
Given by Mr John Fraser and Mr Michael Sherard

Cocktail dresses gained a new popularity after the Second World War. They were worn at early evening or ‘6 to 8’ gatherings.  Since guests usually stood and mingled, the gowns could include complex bustles, appliqué and skirt details, which would be crushed if sat on.

In his book 'The Little Dictionary of Fashion' (1954) Christian Dior (1905-57) described cocktail dresses as ‘elaborate and dressy afternoon frocks’, preferably in black taffeta, satin, chiffon and wool. These confections became the personification of the ‘little black dress’ and were often accessorised with gloves and small, elaborate hats.

This dress was designed by Michael Sherard (1910–98) for his acclaimed 1958 spring collection. 

The flamenco dress was a recurring theme in 1950s cocktail and evening wear. Sherard’s version has a bell-like skirt and train made entirely of lace, his trademark fabric.

Day dress, Jean Dessès

Day dress
Jean Dessès (1904-70)
About 1953
Paris
Woollen tweed, bodice lined with crepe de Chine, and waist stay of grosgain
Museum no. T.102-1982
Given by Mrs D M Haynes and Mrs M Clark

This is a good example of a sheath dress, popular throughout the 1950s. Its construction appears simple, but the clean lines are achieved by skilled cutting and intricate diagonal seaming. The grosgrain waist stay (grosgrain is a heavily ribbed silk) bears the label 'Jean Desses 17 Avenue Matignon PARIS'.

Photograph of Joan Regan, Harry Hammond

Photograph of Joan Regan
Harry Hammond (1920-2009)
1950s
Great Britain
Harry Hammond Collection

Joan Regan was a popular singer with a particularly glamorous image. Here she is shown in a full-length, off the shoulder evening gown. The bodice is shaped, and is probably corseted. Her hair is set with curls around the face, and she wears bright red lipstick.

Evening dress, Victor Stiebel

Evening dress
Victor Stiebel (1907-76)
1950s
London
Satin embroidered with beads and rhinestones
Museum no. T.172-1969
Worn and given by Lady Templer

This dress was designed by the London couturier Victor Stiebel (1907–76). He was originally trained by the court dressmaker, Reville.

Lady Ethel Templer (née Davie, 1904-97), bought this dress in the late 1950s. She was very slim and was able to buy the original dress worn by a house model for the collection. It was originally strapless, but she asked Stiebel to add the straps because her shoulders were narrow. Lady Templer was the wife of the British High Commissioner to Malaya, and required an extensive wardrobe for the many formal dinners and state functions that she had to attend.

The embroidery upon the bodice would have originally been more silvery than it appears now. The metal has oxidised making it appear slightly black and dull.

Evening dress, Hardy Amies

Evening dress
Hardy Amies (1909-2003)
About 1955
London
Tulle and velvet
Museum no. T.259-1976

This dress is typical of the 1950s. It reflects the fashionable 'New Look' style introduced by Christian Dior (1905-57) in 1947, with its voluminous mid-calf length skirt and tight moulded bodice.  The skirt is supported by layers and layers of tulle.

This dress was made by top London couturier Hardy Amies, but this silhouette permeated into most women's wardrobes via ready-to-wear or home pattern versions. Immediately after the Second World War when fabric was scarce, many women sewed extra strips of material onto the bottom of their existing skirts to achieve the fashionable length and fullness.

Evening dress, Jacques Heim

Evening dress
Jacques Heim
1959, Paris
Silk organza, with an underdress of silk taffeta and organza
Museum no. T.266-1974
Given by Mrs Rory McEwen

The House of Heim was founded in 1898 to serve an aristocratic clientele. Jacques Heim (1899-1967) began to extend his parents' establishment, which specialized in furs, into a couture house in 1920. He launched 'Heim Jeunes Filles' in 1936 to follow younger tastes in fashion. All Heim's designs had a classical elegance that made them suitable for grand, formal occasions. His business closed in 1969.

This long, sleeveless ballgown is made of fuschia silk organza. The full skirt features deep box pleats at the back for volume. It is shorter at the front than at the back, combining the formal grandeur of traditional ballgowns and the fashion for short eveningwear typical of the late 1950s.

Evening dress, Pierre Balmain

Evening dress
Pierre Balmain (1914-82)
1950-5
Paris
Silk grosgrain with embroidery, lined with linen, supported by boning and net
Museum no. T.349-1975
Given by Mrs G. Sachet

Pierre Balmain (1914–82) opened his couture house in 1945. He had previously trained alongside Christian Dior at the couture house of Lucien Lelong.

Balmain became one of the most successful couturiers of his generation and by 1956 his house employed 600 workers, with 12 couture workrooms and in-house fur and millinery ateliers.

This youthful summer dress has a boned petticoat, with a full tulle skirt typical of the 1950s.

Summer dress, Horrockses

Summer dress
Horrockses Fashion
1953
England
Printed cotton
Museum no. T.640-1996
Given by Mrs Elizabeth Payze

Horrockses’ cotton dresses, with their brightly coloured prints and full gathered skirts, were a fashion success story in the period after the Second World War. Horrockses was a large cotton manufacturing firm, founded in Preston, Lancashire, in 1791, known for weaving high quality household cottons. In 1946 they launched Horrockses Fashions Limited, a subsidiary company making ready-to-wear dresses, housecoats and beachwear, with headquarters in London's Hanover Square. The success of the firm was due to the quality of the design of the printed cottons, often commissioned from artists, combined with advanced production methods, which preserved the crispness of the cotton while allowing for frequent washing.

Dresses from Horrockses Fashions appealed to women of different ages and social backgrounds as the perfect summer dress. They were relatively expensive and were popular with members of the Royal Family - but working women would save up to buy one, often as a honeymoon outfit. This example was worn by Elizabeth Payze as a teenager.