History of Fashion 1900 - 1970

Lounge suit, Trimmingham (tailors)

Lounge suit
Trimmingham (tailors)
1940
London or Bermuda
Woven wool check (Glen Urquhart or Prince of Wales check)
Museum no. T.717&A-1974
Given by the Duke of Windsor

The lounge suit dominated men's dress from the 1920s onwards. It was worn at events and in places where in previous decades more formal attire would have been required. By 1940s men were wearing lounge suits with a pullover in place of a waistcoat. Pullovers were previously worn for informal and sporting occasions but they gradually became integrated into mainstream fashion.

This suit was worn by HRH The Duke of Windsor. As Prince of Wales he had been crowned King Edward VIII in 1936, but he abdicated the same year and took the title of The Duke of Windsor. The Duke was acknowledged internationally as the leader of men's fashion. He rebelled against the stiff formality of dress and became famous for his casual style. Using the best London and New York tailors, he continued to be adventurous in his love of bright colour, strong texture and bold pattern.

The Duke gave this suit to Sir Cecil Beaton, who was then collecting fashionable dress for his 1971 exhibition, 'Fashion: An Anthology'.

Suit, Utility Scheme

Suit (trousers and jacket)
Utility Scheme
1942
London
Tailored wool
Museum no. T.242-1981

The Utility scheme was devised to share and conserve scarce resources, whilst creating practical and stylistically appealing clothing. With its double-breasted cut, peaked lapels and wide straight-legged trousers, this suit is typical of the period. The breast pocket is stay stitched rather than interlined to economise on fabric. The pocket bags and waistband facings are made in cheap quality cotton. The suit bears the CC41 label, which stands for the Civilian Clothing Act of 1941.

'New Look' jacket, Dior

'New Look' jacket
Christian Dior (1905-57)
1947
Paris
Wool flannel
Museum no. T.109-1982
Given by Mrs Haynes and Mrs Clarke

Christian Dior (1905-57) launched his couture house on 12 February 1947 and became an overnight sensation. His voluptuous first collection featured hand-span waists above enormous skirts. It was christened on the spot by Carmel Snow, editor of American Harper's Bazaar, as the 'New Look', and was the antithesis of masculine wartime fashions.

This jacket demonstrates the exaggerated New Look silhouette. The jacket is moulded into an hourglass shape, which is helped by wads of padding and horsehair around the front of the hips. The shoulders are rounded, the bust full, and the waist tiny.

Day dress, Utility Scheme

Day dress
Edward Molyneux (1891-1974, designer) for the Utility Scheme
1942
London
Rayon crepe, with matching composition buttons
Museum no. T.57-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This day dress is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. It may have been designed by Edward Molyneux. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

When offering this day dress to the Museum in August 1942, Sir Thomas Barlow explained that it conformed 'in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'.

Suit, Utility Scheme

Single-breasted suit
Utility Scheme
1945
London
Woven wool with vertical pin-stripe
Museum no. T.304&A-1982

This is a good example of a Utility suit. During the Second World War both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of fashion designers to be inventive without wasting precious fabric, there was a very limited choice.

The Utility Scheme was introduced by the Board of Trade in 1941 to ensure that low and medium quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and the rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

Suit, Utility Scheme

Suit (jacket and skirt)
Victor Stiebel (1907-76, designer), for the Utility Scheme
1942
London
Flecked wool
Museum no. T.46&A-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This is a good example of a Utility Suit. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. It may have been designed by Victor Stiebel. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

The bloused jacket with square, padded shoulders closely resembles the battledress top of an army uniform. It is Board of Trade pattern no. 33, and the retailers' maxiumum selling price for the suit in 13/13 1/2 oz woollen frieze was £4 2s 2d.

Cocktail dress, Dior

'Maxim' cocktail dress
Christian Dior (1905-57)
1947
Paris
Silk velvet and wool, with ribbed silk petticoat, and zip and buttons
Museum no. T.116toB-1974
Worn and given by Evangeline Bruce

The spring 1947 collection of Christian Dior (1905-1957) caused a sensation and was christened 'The New Look' by Carmel Snow of Harper's Bazaar. Dior offered the glamour and romance of full skirts and nipped-in waists to women who were tired of utilitarian clothes with boxy silhouettes, mannish square shoulders and practical short skirts. This intricately cut afternoon dress of black wool, named 'Maxim's', was worn with a black tulle cartwheel hat, long black gloves and simple black court shoes. To emphasise the bust, a large silk velvet bow was set into the low, square neckline and the waist was compressed by a cummerbund-style lower bodice. A heavy ribbed silk petticoat supports and defines the skirt. The dress fastens with a zip down the back .

Suit and coat, Utility Scheme

Suit (jacket and skirt) and coat
Worth London (designer) for the Incorporated Society of London Fashion Designers (collection), for the Utility Scheme
1942
London
Scottish woollen tweed
Museum no. T.42&A-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This is a good example of a Utility Suit. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

When offering this jacket and skirt to the Museum in August 1942, Sir Thomas Barlow explained that 'they conform in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'.

Suit, Hardy Amies

Suit (skirt and jacket)
Hardy Amies (1909-2003)
1947
London
Tailored worsted
Museum no. T.38&A-1966
Given by Mrs Benita Armstrong

This curvaceous suit has the small waist and wide, padded hips inspired by Christian Dior's instantly popular 1947 'New Look' collection. Though, the square shoulders recall earlier styles and show that this lady may have resisted a complete change in style. 

Hardy Amies skilfully overcame the continuing shortages and regulations governing the availability and use of materials in the early post-war period. This superbly tailored double-breasted jacket has a nipped-in waist and pockets with deep flaps which curve over and accentuate the hips. The long bias-cut skirt has soft pleats at the front right and the back left, which creates a flattering garment that also economises on fabric.

Pair of shoes, Shaftesbury Shoes Ltd

Pair of shoes
Shaftesbury Shoes Ltd (manufacturers)
1940s
Great Britain
Plaited leather straps, leather-covered platform sole with circular inset layers and leather-covered heel
Museum no. T.33&A-1988
Given by Mrs M. Bagel

This pair of shoes is typical of the mid 1940s, during which time it was fashionable to wear tall platform shoes.  Because of war-time shortages, the platform soles were often made out of cork.  In keeping with the fashion for height, hair was worn piled high on top of the head, and clothing was narrow with exaggerated padded shoulder.

Suit, Lachasse

Suit
Lachasse
1948-9
London
Wool, silk crepe de chine, and silk jersey
Museum no. T.214-1976
Worn by Mrs Ralph Dent and given by Mrs M. Webster

This suit is typical of the 1940s post-war 'New Look'.  The skirt is straight and slightly below the knee in length, while the jacket features a nipped in waist, padded hips, and sloping shoulders inspired by Christian Dior's 'New Look' collection of 1947, which moved fashion away from the boxy, military look of the war years.

A meticulously tailored but perfectly plain suit is transformed by carefully engineered details. The focus on this jacket is the double-flared panels which draw attention to the hips. The long straight skirt has a central block of kick pleats at the back, which allow ease of movement. The suit is completed by a matching turban-style hat in claret and black, and a hand-embroidered silk blouse in delicate blue-grey.

Housedress, Utility Scheme

Housedress
Utility Scheme
1942
London
Printed cotton
Museum no. T.55-1979
Given by Miss Pennie Smith

In 1942, the British Government established the Utility Scheme to ration materials and regulate the production of civilian clothing during the war.  Utility Scheme clothes bear a printed stamp reading 'CC41', an abbreviation of the Civilian Clothing Act of 1941.

This overall, or housedress, was designed to Utility standards. It has no more than two pockets, five buttons, six seams, 160 inches of stitching and no superfluous decoration. It is made of a floral printed fabric, an area of textile production in which Britain has long excelled.  It is typical of the 1940s, when shoulder pads and full puffed sleeves were fashionable.  Skirts were typically narrow, giving dresses a rather top-heavy look.

Afternoon dress, Molyneux

Afternoon dress
Edward Molyneux (1891-1974)
1946
London
Silk crepe, with buttons
Museum no. T.92-1982
Worn by Mrs Opal Holt and given by Mrs D. M. Haynes and Mrs M. Clark

A black afternoon dress with a good label was both a chic choice and a sensible one. Edward Molyneux (1891-1974) could be relied on to provide streamlined distinction. This dress has a schoolmistress-like authority and propriety; its covered-up look features a demure high neck, long sleeves and a safe, calf-length skirt. However, Molyneux transformed it into a little black dress with attitude by cutting the matt crepe to skim sensuously over the body's curves and by introducing pleats at salient points. A wide sash arranged in folds below the waist emphasised the slenderness of the wearer. The dress buttons down the back.

Design for an evening dress, Marjorie Field

Design for an evening dress
Field Rhoades (Marjorie Field)
1940s
London
Pencil and bodycolour on paper
Museum no. E.479-2005
Given by Paul Williamson

This is a fashion design depicting a woman in an ice-blue evening dress, designed by Marjorie Field in the 1940s for the haute couture firm Field Rhoades of 77, South Audley Street, London. The dress is typical of the mid to late 1940s, when full skirts and padded or paniered hips were very fashionable. This style was fashionable into the early 1950s, but the hairstyle marks it out as a particularly 1940s model. Here the hair is shown piled high, in curls, on top of the head. In the 1950s hair was worn in chignons towards the back of the head or at the nape of the neck, or cropped short in a gamine style.

The design is signed with the firm's name and probably would have been used as a presentation drawing, for the client to decide which model they wanted to have made. The design is titled 'Model: "Mazurka" ', and a small area of text in pencil describes the colour and fabric of the dress: 'Ice-blue slipper satin braided in white.'

Design for a suit, Marjorie Field

Design for a suit
Field Rhoades Ltd (Marjorie Field)
1940s
London
Pencil and bodycolour on paper
Museum no. E.476-2005
Given by Paul Williamson

This is a fashion design for a day suit, designed by Marjorie Field in the 1940s for the couture firm Field Rhoades of London. It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. The woman wears her hair piled fashionably high on top of her head.

The design would probably have been used as a presentation drawing, for clients to decide which model they wanted to have made.

Shoe, designer unknown

Shoe
Designer unknown
1940s
England
Leather, punched and stitched
Museum no. T.21&A-1983

This is a pair of men's brogue shoes, made of leather. The traditional brogue employs circles and dots born along the lines of the shoe's construction, emphasising the stitching, and as a prominent field pattern on the toecap.

Dress, Utility Scheme

Dress
Charles Creed (1909-66, designer), for the Utility Scheme
1942
London
Rayon crepe, with buttons
Museum no. T.60-1942
Given by the President of the Board of Trade

In 1942 the British Board of Trade commissioned ten members of the recently formed Incorporated Society of London Designers to create a collection of regulation day wear under the auspices of the Utility scheme, an austerity measure introduced by the Board of Trade during the Second World War, when clothes were rationed. Smart yet practical, this shirtwaister - a kind of tailored shirt-dress - was the only black garment in the designer Utility collection.

The rayon crepe dress has all the characteristics of wartime clothing - broad shoulders (shaped by heavy flock pads), a skirt length just below the knee and a square silhouette, but it also has also eye-catching details, such as bold lapels and a roomy pocket set diagonally on the left hip.

Evening dress, Schiaparelli

Evening dress
Elsa Schiaparelli, (1890-1973)
1940, Paris
Black silk crepe, embroidered with pearls, sequins and metallic strip, and fastened with a plastic zip
Museum no. T.48-1965
Worn and given by the designer

Elsa Schiaparelli (1890-1973) enjoyed the enormous publicity that her more bizarre creations generated, but her less provocative designs rarely caused a furore and have been somewhat neglected. She often referred to her simple black dresses and their versatility, and regularly wore black herself. Schiaparelli gave this dress to the V&A after her retirement.

Here she composed a short-sleeved dress in matt black crepe. The extremely simple, fluid shape is relieved by a slashed neckline and a bold embroidered spray of lilies (by the specialist embroidery company Lesage) in various sizes of pearls, sequins and metallic strip. The dress fastens with a black plastic zip on the left-hand side.

Suit, Utility Scheme

Suit (jacket and skirt)
Digby Morton (1906-83, designer), for the Utility Scheme
1942
London
Grey herringbone wool, fastened with metal buttons, trimmed with a grosgrain bow
Museum no. T.45 to B-1942
Given by the Board of Trade

The buttons on this tailored ensemble bear a wartime message. They are stamped with the Utility symbol CC41, which stands for Civilian Clothing and 1941. The Utility Scheme was introduced in 1941 to ensure that consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. Reginald Schipp designed the symbol. He was asked to disguise the 'CC' so that the public would not recognise the letters as such. This stylised motif became known as 'the cheeses' and was also printed on to clothing labels.

The Board of Trade commissioned the design for this jacket, skirt and blouse from the Incorporated Society of London Fashion Designers. It was one of 32 stylish yet economical outfits intended for general production. In October 1942 Vogue magazine published the following description of the collection: 'All the designs are, of course, within the New Austerity specifications: only so many buttons, this much cuff and that much skirt...but they are an object lesson in the power of pure style over mere elegance'.

Although the designers of individual pieces were not publicised, this suit has Digby Morton's initials inked on a paper tag. The label also identified it as 'No 16 Original DM 92/10' with a maximum price tag of just under £5.00. There is a Morton label inside the blouse, making it one of only two Utility prototype garments labelled by the original designer. The other piece is a Bianca Mosca blouse.

Suit, Utility Scheme

Suit
Edward Molyneux (1891-1974, designer), for the Utility Scheme
1942
London
Tailored tweed check
Museum no. T.43-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This is a good example of a Utility Suit. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

When offering this jacket and skirt to the Museum in August 1942, Sir Thomas Barlow explained that 'they conform in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'.

Design for a suit, Marjorie Field

Design for a suit
Field Rhoades Ltd (Marjorie Field)
1940s
London
Pencil and bodycolour on paper
Museum no. E.477-2005
Given by Paul Williamson

This is a fashion design for a black suit, designed by Marjorie Field in the 1940s for the couture firm Field Rhoades of London. It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt.

The design is signed with the name of the firm, and would probably have been used as a presentation drawing, for clients to decide which model they wanted to have made.

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.

Photograph, John French

Photograph
John French (1906-66)
1960s
London
John French Archive, ref. JF6647/13

This photograph is by fashion photographer John French. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that many teenagers would be able to buy.

The models shown here sport typical 1960s styling. The men have exaggerated side partings and side-burns, whilst the woman has a heavy, straight fringe. She is wearing a fashionable tunic top and knickerbockers.

Photograph, John French

Photograph of fashion models
John French (1906-66)
1960s
London
John French Archive, V&A JF6745/3

This photograph is by fashion photographer John French. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that many teenagers would be able to buy.

The models shown here are easily dated to the 1960s because of their hair and make up. They sport heavy fringes with straight hair curled up at the bottom. Their lipstick is pale but their eyes are accentuated with thick, black kohl eyeliner.

Mini-dress, Biba

Mini-dress
Biba (Barbara Hulanicki; born 1936)
1967
London
Printed cotton
Museum no. T.12-1982
Given by Frances Hinchcliffe

Barbara Hulanicki and her husband John Fitz Simon set up Biba in 1963 as a mail order boutique. The success of their affordable, youthful designs enabled them to open a small shop in Kensington the following year. They attracted glamorous pop stars, bohemian aristocrats and impoverished students alike. In April 1966, the American news magazine 'Time' published a special edition celebrating ‘London: The Swinging City’. It named Biba as ‘the most in shop for gear’.

The label was famous for murky colour palettes, but they also produced some strikingly colourful garments. Purple was a typical Biba colour, but when combined with a vibrant yellow zig-zagging print and a short flirty skirt, the effect is dramatic. In the 1960s, Biba clothing featured some of the shortest miniskirts available, focusing attention on the wearer's legs. Their reputation for micro-minis started almost by accident following a shipment of jersey skirts in 1966. Barbara Hulanicki, the designer, recollected in her autobiography, A to Biba:

'The skirts were only 10 inches long. God, I thought, we'll go bust - we'll never be able to sell them. I couldn't sleep, but that little fluted skirt walked out on customers as fast as we could get it onto the hatstands.'

Mini-dress, Biba

Mini-dress
Biba (Barbara Hulanicki, born 1936)
1969
London
Printed cotton
Museum no. T.10-1982
Given by Marion Kite

Barbara Hulanicki launched the Biba label with her husband John Fitz Simon in 1963, initially selling clothes by mail order through newspaper advertisements. The success of her affordable, fashionable designs enabled them to open a series of shops in Kensington, London.

This dress appeared in the Summer 1969 mail order catalogue. Marion Kite, an art school student, wore the dress for special occasions in London, and also on holiday in Cornwall. Mini-dresses were popular with Biba customers in the late 1960s, alongside longer dresses and trousers with wide flares. Holiday dresses such as this were even shorter than the standard Biba dress length.

Photograph of British Female Celebrities, John French

Photograph of British Female Celebrities
John French (1906-66)
1960s
London
John French Archive, V&A JF6743/4

This photograph, featuring Cilla Black, Lulu, Marianne Faithfull, Julie Grant, the Vernon sisters and others, was taken by fashion photographer John French. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that many teenagers would be able to buy.

The celebrities shown here are easily dated to the 1960s because of their hair and make up. They sport bouffant styles, back-combed for a full, bee-hive shape, and heavy fringes. Their lipstick is pale but their eyes are accentuated with thick, black kohl eyeliner.

Evening mini-dress, Mary Quant

Evening mini-dress
Mary Quant (born 1934)
1967-8
London
Machine-sewn crêpe
Museum no. T.52-1985
Given by Mrs A. Walford

This evening mini-dress in black crepe was designed by Mary Quant for her Ginger Group collections in 1967-1968. Mary Quant was world-famous for championing the mini-skirt, and in the 1960s her name became associated with the predominantly black Chelsea look, with its beatnik overtones.

Tunic mini-dress, Ossie Clark and Celia Birtwell for Radley

Tunic mini-dress
Ossie Clark (designer, 1942-96), and Celia Birtwell (textile designer, born 1941), for Radley (retailers)
1968
London
Printed cotton
Museum no.T.141-1994
Given by Kay Clark

This tunic was part of Ossie Clark's first collection for his lower-priced Radley label. The print is by Celia Birtwell. The simple silhouette meant that it could be worn either as a dress or with trousers. Kay, Ossie Clark's sister, wore it as a mini-dress when Clark married Celia Birtwell in 1968. Ossie Clark was one of Britain's most influential fashion designers of the 1960s and 1970s.

Photograph, John French

Photograph
John French (1906-66)
1960s
London
John French Archive, V&A ref. JF6897/4

This photograph is by fashion photographer John French. Throughout the 1950s and 1960s he shot the latest fashions for magazines and newspapers, and he usually photographed affordable, high-street ranges that most people would be able to buy.

The models shown here sport work and casual wear, and are easily dated to the 1960s because of their hair, which is parted at one side.

'Peachy' dress, Mary Quant

'Peachy' dress
Mary Quant (born 1934)
1960
London
Wool
Museum no. T.27-1997
Worn and given by Mrs Margaret Stewart

One of the earliest works by Mary Quant in the V&A's collection, this shift illustrates how she broke with convention and made clothes specifically for young customers. Its donor identified the work ('my scarlet runner') as 'a seminal dress at the beginning of a new and still, to me, exciting decade'. Until the beginning of the 1960s youth quake, daughters had no alternative but to dress like their mothers. In tune with the times, Mary Quant offered them identities of their own with styles such as this vivid red shift with youthful appeal.

Dress, 'Twiggy Dresses'

Dress
'Twiggy Dresses' (label), Paul Babb and Pamela Proctor (designers)
1967-9
London
Printed polyester
Museum no. T.15-2007
Given by Gillian Saville

The late 1960s celebrity boutique phenomenon saw popular teenage idols launching clothing lines and boutiques. These included singer Sandie Shaw, TV presenter Cathy McGowan, and even the footballer George Best. Such ventures tended to be short-lived, lasting a few years or even months, like the Beatles' 'Apple' boutique, which closed in July 1968 after 7 months.

The famous 1960s model, Twiggy, launched her fashion label 'Twiggy Dresses' on 16 February 1967. Each garment, costing between £6 and £13, came with a free Twiggy portrait hanger. The shops showed them on Twiggy portrait mannequins, and Twiggy did all the modelling and publicity. She worked with the young designers, Paul Babb and Pamela Proctor to ensure they designed clothes she would happily wear herself, such as this brightly patterned mini-dress. This personal input and strong branding enabled the label to run successfully for three years.

'Cosmos' ensemble, Pierre Cardin

'Cosmos' ensemble
Pierre Cardin (born 1922)
1967
Paris
Woollen jersey with applied vinyl (dress), knitted ribbed wool (sweater), vinyl (accessories)
Museum no. T.75 to F-1974
Given by the designer

Cardin's bold futuristic clothes were largely designed for active young women. In 1966 The Observer newspaper said of Cardin's designs: 'His contribution to modern living may be practical but it's rather a shock.' From the mid 1960s until about 1971 Cardin favoured heavyweight woollen jerseys for his avant-garde designs. This fabric allowed free movement, but at the same time was sufficiently rigid to maintain the clear-cut shapes.

This 'space suit' forms part of the Cecil Beaton Collection. With great energy and determination Sir Cecil Beaton (1904-1980) contacted designers and the well-dressed elite of Europe and America to create this lasting monument to the art of dress. The collection was exhibited in 1971, accompanied by a catalogue that detailed its enormous range.

Paper dress, Ossie Clark and Celia Birtwell

Paper dress
Ossie Clark (designer, 1942-96), and Celia Birtwell (textile designer, born 1941), for Ascher Ltd
1966
London
Printed paper
Museum no. T.261-1988
Given by Zika Ascher

Paper dresses were a brief but spectacular 1960s sensation. They were cheap and disposable, and the simple 2-D shape was ideal for the bold graphic prints that were so fashionable.

In 1966 the Draper's Record announced that Ossie Clark had launched Britain's first range of throwaway dresses. The floral design, by Celia Birtwell, was printed onto imitation paper made by Johnson and Johnson, formed from bonded textile fibres. The wholesale price was 15 shillings.

Overcoat, Village Gate

Overcoat
Village Gate (designers)
1967
London
Herringbone tweed
Museum no. T.190-1979
Given by Sir Roy Strong

Midi-coats and maxi-coats for men and women were introduced in 1966. High-waisted with broad lapels and sometimes belts, they reached to the mid-calf for the midi and to the ankles for the maxi. The style was derived from military coats at a time when military tailoring had become fashionable. During the late 1960s there was a craze for wearing second-hand uniforms, usually Brigade of Guards red jackets and various greatcoats. It was these greatcoats that influenced the cut of the midi and maxi. This particular example was worn by Sir Roy Strong, a former Director of the Museum.

Mini-dress, Mary Quant

Mini-dress
Mary Quant (born 1936)
1966
London
Wool jersey
Museum no. T.86-1982
Given by Mrs Lina Salmon

Mary Quant's mini-dresses for her 'Ginger Group' label epitomise the 1960s fashion revolution. This jersey shift dress is like a sweater grown to dress length, and a version was modelled by Twiggy in a Vogue 'Young Idea' fashion spread in April 1966. With the hem well above the knee it was ideally suited to her boyish figure.

The dress was donated as unsold stock from a smart boutique called 'Merlyn', in London's East End, reputedly patronised by gangsters and their girlfriends.

Evening mini-dress, Paco Rabanne

Evening mini-dress
Paco Rabanne (born 1934)
1967
Paris
Plastic pailletes joined with metal wire
Museum no. T.165-1983
Worn and given by Baroness Helen Bachofen von Echt

Paco Rabanne led the field of radical experimentation in elite fashion design in the 1960s. Having trained as an architect, initially he made plastic buttons and jewellery for Paris couture houses. When he opened his own fashion business in 1966, his architectural background and the current interest in space travel informed his work. Using techniques borrowed from jewellery, he created sculptural dresses in unconventional materials which broke all the rules.

This 'chain mail' dress was worn over a flesh-coloured bodystocking. Baroness Helen Bachofen von Echt wore it to a party in New York where she danced with Frank Sinatra.

Paper mini-dress, Dispo

Paper mini-dress
Dispo (Meyersohn & Silverstein Ltd) (manufacturer)
1967
London
Bonded cellulose fibre ('Bondina') with printed design
Museum no. T.176-1986
Given by Diane Meyersohn

Paper dresses were a brief but spectacular 1960s sensation. They were cheap and disposable, and the simple 2-D shape was ideal for the bold graphic prints that were so fashionable.

Dispo's paper dresses were actually made out of a bonded cellulose fibre and could be washed. A Which magazine consumer trial found that they could be worn at least six times, while other brands would not survive beyond two or three. This printed design was based on an Art Nouveau textile in the V&A collections.

Mini-dress, Ossie Clark and Celia Birtwell

Mini-dress
Ossie Clark (designer, 1942-96), and Celia Birtwell (textile designer, born 1941)
1969
London
Printed rayon and crêpe
Museum no. T.258-1990
Given by Linda Lloyd-Jones

A fashionable young woman would have worn this garment either as a mini-dress or with trousers. The textile design is a plain grid pattern. A simple waist-tie gives shapely definition to the loose tunic-style. This was one of the first Ossie Clark designs for his less expensive Radley label. Clark was one of Britain's most influential fashion designers of the 1960s and 70s.

Dress, Joseph Leonard

Dress
Joseph Leonard
1965
New York
Gold paper with sequins
Museum no. T.297-1974
Given by Princess Slanislaus Radziwill

The thigh-high ‘mini’ was symbolic of the 1960s in both Britain and America. Though initially shocking to some, many designers embraced its informality and ease of movement. Here American designer Leonard Joseph combines the youthful shape of the mini with an unconventional paper textile.

Designed for the avant-garde New York boutique 'Forward Look', this dress was worn by Princess Stanislaus Radziwill. She was the sister of Jackie Kennedy and a regular figure on the social scene of both sides of the Atlantic.

Dress and shorts, Emmanuel Ungaro

Dress and shorts
Emmanuel Ungaro (born 1933)
About 1968
Machine sewn gabardine
Museum no. T.316&A-1978

This daywear ensemble, designed by Emanuel Ungaro (1933–), is composed of a knee-length dress and a pair of shorts. Made from printed gabardine, showing abstract motifs in orange, white and brown, the dress has a small round collar and long sleeves. The matching shorts are worn under the dress and are not visible.

Born in France to Italian parents. Ungaro trained as a tailor, and then worked for Balenciaga and Courreges, whose influence is particularly evident here, and who was the first designer to introduce this concept in the mid-1960s. Ungaro’s interpretation manifests itself through bold prints, which became the designer’s hallmark.

Day dress and jacket, Emmanuel Ungaro

Day dress and jacket
Emmanuel Ungaro (born 1933)
1966
Paris
Wool gabardine, lined throughout with surah, with a zip and hooks and eyes
Museum no. T.320&A-1978
Given by Mrs Brenda Azario

Emmanuel Ungaro was born in Aix-en-Provence, France, in 1933. He played an important role in the rejuvenation of Paris fashion. He left Balenciaga, with whom he had worked for six years, to join Courrèges in 1964. When this partnership failed, he began to design, independently showing his first collection in 1965. Like Courrèges, Ungaro sculpted hard-edged clothes in heavy worsted fabrics and triple gaberdines. His garments retained the angular shapes of the mid 1960s fashions so perfectly that they often almost stood up by themselves.

This day dress and jacket was worn by Mrs Brenda Azario. It was featured in French Vogue (March 1966 and March 1967).

Suit, Moss Bros

Suit
Moss Bros
1969
London
Wool twill
Museum no. T.271&A-1990
Given by Mr. R. Hughes

This Moss Bros suit, designed in 1969, is striking in that it is totally unadorned, even the jacket buttons are concealed by a fly front. The stand-up Nehru style collar became fashionable in the mid 1960s. A daring purple satin lining belies the sober grey exterior. Moss Bros was founded in the 1850s by Moses Moses. The company built its reputation from selling ready-to-wear tailoring.

Pyjama dress, Emilio Pucci

Pyjama dress
Emilio Pucci (1914-92)
About 1968
Italy
Printed silk jersey
Museum no. T.337-1997

This trouser-dress designed by Emilio Pucci in 1968 is typical of Italian fashion.Cut in a luxurious Italian-produced silk jersey, it displays the bright Mediterranean colours which have been Pucci’s hallmark since the beginning of his career in the mid-1950s. The dress has a sleeveless bodice with a low-cut neckline. The bodice is cut under the bust and continues into a wide trouser-skirt.

Fashion at the end of the 1960s was characterised by the abandonment of short and rigid A-line mini-dresses in favour of long and svelte lines, and by the increasing presence of trousers in women’s wardrobes. Long dresses and skirts were no longer restricted to evening wear but were increasingly part of daywear.

Suit, Bernard Weatherill

Suit
Bernard Weatherill
1966
London
Wool
Museum no. T.338-1984
Given by Eric Lucking

This suit was made by Bernard Weatherill during the British fashion boom of the 1960s and is a good example of the styles of that period. The repetition of curved lines in flapped pockets, cuffs, collar and lapels, along with unusual covered buttons, show a dapper and stylish attention to detail. Bernard Weatherill was a men's tailoring and equestrian dress-maker, established in Savile Row in 1912. Today, the company retains a host of Royal Appointments.

Ensemble, Andre Courrèges

Ensemble (dress and coat)
Andre Courrèges (born 1923)
1965
Paris
Machine stitched worsted and spandex
Museum no. T.304:1&2-2000

This ensemble consisting of a coat and a dress, was designed by André Courrèges in 1965.

The coat is short, double breasted, and has a triangular shape. It has two long sleeves, two vertical pockets on the front and fastens with four buttons. There is a blue spandex trimming around the collar, the upper part of the coat, the pockets and the sleeves. The back of the coat shows a slit from waist down to the hem, covered with a panel. All the seams are double.The dress is short, and has a triangular shape. It is sleeveless. There are two buttons on the front, six at the back and two vertical pockets on the front. There is a blue spandex trimming around the neckline, the shoulders, the pockets and the hem.

André Courreges was born in France in 1923. After a brief career in engineering, he turned to fashion and worked with Balenciaga from 1949 to 1961. From Balenciaga he learned to search for a pure, simple and sharp line which, mixed with his taste for white and pure colours, allowed him to create designs for a younger generation. This ensemble shows Courrège's architectural approach to fashion: the use of geometrical shapes, minimalist details and colour. The use of white, underlined here with plastic blue, and the use of heavy worsted, make the shape of this ensemble stand out almost as an architectural object. The choice of blue and white, refers to the 'matelot' style popular amongst youth in France during the mid 1960s.