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~Shades of Picasso 1945 by Gilbert Adrian (American, Naugatuck, Connecticut 1903–1959 Hollywood, California) synthetics~

Dress designed by Halston, 1976.

Edward Steichen, Gloria Swan (Lace), 1924

Tandem Bike

Paris’ House of Worth fashioned a gown for the wife of the 8th Duke, Louise, Duchess of Devonshire, to be worn at Queen Victoria’s Diamond Jubilee Ball, held at Chatsworth House in 1897. The gown was made to transform the Duchess into Zenobia, the warrior queen of Palmyra. A concoction of cloth of silver, cloth of gold, brilliants, gemstones, and embroidered with more metalwork, the dress has a peacock feather fan motif at the hem and a train of turquoise velvet embroidered with gold.

1900. Amazing detail. You can tell this style is just coming out of the Victorian era and into the Edwardian. Still the sillouette of the old with the lightness and detail of the new.

Pierre Balmain

Pierre Balmain

That. Dress. Andre Durst-British-Vogue-1939

regal

Evening dress and belt, fall/winter 1996–97 Tom Ford (American, born 1961), for Gucci (Italian, founded 1906) White rayon jersey; white self-covering with brass buckle

Issey Miyake Origami jacket S/S 1991

Givenchy, 1967.

Stunning-French Couture 1920's

Evening Cape, Elsa Schiaparelli, Lesage Embroidery: 1938, metallic thread embroidered, trimmed sequins and beads. "...This cape is a stellar example of that period of Schiaperelli's designs. The mythical Greek god, Apollo, flies through the air in a carriage embroidered three-dimensionally with sequins and gold thread; this design was conceived by Christian Bérard, an artist and theatre designer who flourished in Paris..."

Geoffrey Beene

Borrowing from the Victorians, James interpreted the 1870s bustle dress in construction, form, and decoration to render his swan silhouette. A hollow, double-lobed understructure at back corresponding to a divided type of period bustle and similar foundations over the hips extend the figure beyond the natural form. Like the bustle, bisecting the back emphasizes the round forms of the buttocks and at the same time suggests the back of a swan, with wings folded gracefully on its back. The apron-fr

Charles James: "Diamond" evening dress (2009.300.832) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Charles James: "Diamond" evening dress (2009.300.832) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Charles James: "Butterfly" Ball Gown (2009.300.816) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Eroticism takes many forms, both subtle and blatant, in James' oeuvre. In the design and cut of this mermaidlike dress, he pulled out all the stops. Curvaceous pattern pieces, which abstract and idealize the feminine form, are accentuated by playing off the luminescent and matte textures of contrasting materials. Black velvet reiterates the shapes. An affinity for the biomorphic forms typical of 1950s architectural and decorative arts is evidence of James' modernity.

"Diamond" evening dress, 1957 Charles James (American, born Great Britain, 1906–1978) Silk: ivory satin: mushroom gros de londres; black velvet

"Tree" evening dress, 1955 Charles James (American, born Great Britain, 1906–1978) Silk: rose pink taffeta; white satin; synthetic: red, pink, and white tulle

Reshaping the body through corsetry was one of James' lifelong fascinations. The quintessential feminine shape is perfected in this dress through rigid interior boning in the bodice and intricately tucked exterior hip drapery. As an added touch of sheer romanticism, the bouffant skirt is faced with rich white satin and supported by a profusion of colored tulle, a hidden blossom made visible with movement. Deploying a double entendre, James named the design for one of his clients, Marietta Peabod

"Butterfly" ball gown, 1955 Charles James (American, born Great Britain, 1906–1978) Silk: smoke gray chiffon; pale gray satin; aubergine, lavender, and oyster; synthetic: white nylon Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. John de Menil, 1957 (2009.300.816)