Drape suits are a 1930s British variation of the three-piece suit, in which the cut is full and 'drapes'. It is also known as the blade cut or London cut. [1] The design of the athletic aesthetic of the drape suit is attributed to the London tailor Frederick Scholte. [2] The new suit cut was softer and more flexible in construction than the suits of the previous generation; extra fabric in the shoulder and armscye, light padding, a slightly nipped waist, and fuller sleeves tapered at the wrist resulted in a cut with folds, or "drapes," front and back that created the illusion of the broad-shoulders and tight-waist "V" figure of the very fit.
Most changes in menswear occur slowly and subtly, until the shift becomes noticeably different. This noticeably different change occurs some time after the transition had begun. [2] In comparison, changes in women's fashions are fast and each alteration noticeable almost immediately as it occurs. English tailoring remained the norm in leading men's fashions with a heavy influence of sportswear. [3]
Introduced in the late 1920s, the athletic silhouette in suits "gradually and subtly refined into the drape cut". [1] The athletic cut was more comfortable and less fitted to allow for movement. Previously, they were considered informal and not suitable for everyday dress on the streets. During the early 1900s, there was a shift of attitudes, and the clothes that were considered informal or for sports were being worn on the streets and were considered acceptable wear. [3] The English drape suit became popular by the late 1930s. [3]
Scholte's distinctive V-shaped suit was developed through "discreet horizontal drapes narrowed across the shoulder blades from the roomy armholes down to the raised waistline". [2] This shape resembled a 'V', which was caused by the broad shoulders that narrowed to a tucked in waistline, which smoothed over the hips as opposed to flaring back out (like the tail coat or the frock coat that preceded it). The shoulders were not padded, looking natural, broad and masculine. [2] The drape suit was a more comfortable, athletic alternative to the slim suits of the preceding war years and their restrictions. It had more fabric through the shoulders and chest, causing a slight drape or wrinkle. [3] Like other suit jackets, this style could be made single or double-breasted. The pants were also cut fuller "with pleated fronts and wide legs that tapered slightly to the ankle". [2]
The main difference between American and British versions of the drape suit was in the treatment of the sleeve-head at the shoulderline. The American version had a "smooth roll of sleeve fabric where it was stitched into the armscye" whereas the English version had "tiny puckers from stitch tucks". [1] In addition, the American drape suit has a very tapered waist that helps to exaggerate the bulk in the chest and shoulders, and causes the skirt line to appear flared. [4] In comparison, the English version has a less tapered waist with a straight skirt line.
By the mid-1930s, "two subtle changes added a touch of modernity to the athletic suit style". [1] The first modification was the alteration of the peaked lapel, which became wider and angled more upwards. This added more fullness and width to the 'masculine' chest. [1] The second modification was the alteration of the sleeve armholes to become more narrow and raised. This added more fullness and width for a 'masculine' impact in the broadness of the shoulders and narrow waist. [1]
The drape suit remained popular during World War II, being a familiar and stable piece during uncertain times. [1] A man's shoulders remained broad, fluid and natural; his chest appeared full and muscular "with the deeply rolled lapels"; "his waist and hips were made trim with the raised coat waistline and ventless skirt". [1]
In the 1950s, men's fashions followed the trend of women's. With Christian Dior's New Look for women, came the Bold Look and Continental Cut for men. [3] The Bold Look was the continuation of the English drape cut with greater emphasis on the coordination of the suit with its accessories and shirt. It continued to have broad shoulders with a slightly nipped in waist and a double-breasted suit jacket. [3] This cut was anchored in the WWII version, without the war restrictions. [3]
In the 1974 film The Great Gatsby , the drape suit of the 1920s and 1930s was revisited. [5] The suit was modernized with the use of synthetic fabrics and a more modern construction. [5]
Recently, Michael Anton, author of The Suit, has advocated for the return of the drape suit. The American Zoot suit is an extreme exaggeration of excess fabric. Although the drape suit and the sack suit are similar, they are not the same cut and style.
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion.
Fashion in the 1890s in European and European-influenced countries is characterized by long elegant lines, tall collars, and the rise of sportswear. It was an era of great dress reforms led by the invention of the drop-frame safety bicycle, which allowed women the opportunity to ride bicycles more comfortably, and therefore, created the need for appropriate clothing.
1830s fashion in Western and Western-influenced fashion is characterized by an emphasis on breadth, initially at the shoulder and later in the hips, in contrast to the narrower silhouettes that had predominated between 1800 and 1820.
1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.
A dolman is either a military shirt, or a jacket decorated with braiding, first worn by Hungarian hussars. The word is of Turkish origin, and after being adopted into Hungarian, has propagated to other languages. The garment was worn by peasants from the 16th century onward and eventually spread throughout the country, mainly within wealthy peasant circles. It reached people living in the poorest conditions only at the end of the 19th century.
During the 1820s in European and European-influenced countries, fashionable women's clothing styles transitioned away from the classically influenced "Empire"/"Regency" styles of c. 1795–1820 and re-adopted elements that had been characteristic of most of the 18th century, such as full skirts and clearly visible corseting of the natural waist.
1880s fashion in Western and Western-influenced countries is characterized by the return of the bustle. The long, lean line of the late 1870s was replaced by a full, curvy silhouette with gradually widening shoulders. Fashionable waists were low and tiny below a full, low bust supported by a corset. The Rational Dress Society was founded in 1881 in reaction to the extremes of fashionable corsetry.
A pleat is a type of fold formed by doubling fabric back upon itself and securing it in place. It is commonly used in clothing and upholstery to gather a wide piece of fabric to a narrower circumference.
Sweater design is a specialization of fashion design in which knitted sweaters are designed to fulfill certain aesthetic, functional and commercial criteria. The designer typically considers factors such as the insulating power of the sweater ; the fashion of its colors, patterns, silhouette and style lines, particularly the neckline and waistline; the convenience and practicality of its cut; and in commercial design, the cost of its production and the profitability of its price point. Sweater designs are often published in books and knitting magazines. Sweater design is an old art, but continues to attract new designers such as Nicky Epstein and Meg Swansen.
Fashion in the 1970s was about individuality. In the early 1970s, Vogue proclaimed "There are no rules in the fashion game now" due to overproduction flooding the market with cheap synthetic clothing. Common items included mini skirts, bell-bottoms popularized by hippies, vintage clothing from the 1950s and earlier, and the androgynous glam rock and disco styles that introduced platform shoes, bright colors, glitter, and satin.
Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
The most characteristic North American fashion trend from the 1930s to 1945 was attention at the shoulder, with butterfly sleeves and banjo sleeves, and exaggerated shoulder pads for both men and women by the 1940s. The period also saw the first widespread use of man-made fibers, especially rayon for dresses and viscose for linings and lingerie, and synthetic nylon stockings. The zipper became widely used. These essentially U.S. developments were echoed, in varying degrees, in Britain and Europe. Suntans became fashionable in the early 1930s, along with travel to the resorts along the Mediterranean, in the Bahamas, and on the east coast of Florida where one can acquire a tan, leading to new categories of clothes: white dinner jackets for men and beach pajamas, halter tops, and bare midriffs for women.
Fashion in the period 1900–1909 in the Western world continued the severe, long and elegant lines of the late 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signaled the approaching abandonment of the corset as an indispensable garment.
Shoulder pads are a type of fabric-covered padding used in men's and women's clothing to give the wearer the illusion of having broader and less sloping shoulders. In the beginning, shoulder pads were shaped as a semicircle or small triangle and were stuffed with wool, cotton, or sawdust. They were positioned at the top of the sleeve to extend the shoulder line. A good example of this is their use in "leg o' mutton" sleeves or the smaller puffed sleeves which are based on styles from the 1890s. In men's styles, shoulder pads are often used in suits, jackets, and overcoats, usually sewn at the top of the shoulder and fastened between the lining and the outer fabric layer. In women's clothing, their inclusion depends on the fashion taste of the day. Although from a non-fashion point of view they are generally for people with narrow or sloping shoulders, there are also quite a few cases in which shoulder pads will be necessary for a suit or blazer in order to compensate for certain fabrics' natural properties, most notably suede blazers, due to the weight of the material. There are also periods when pads intended to exaggerate the width of the shoulders are favored. As such, they were popular additions to clothing during the 1930s and 1940s; the 1980s ; and the late 2000s to early 2010s.
Fashion from 1910 to 1919 in the Western world was characterized by a rich and exotic opulence in the first half of the decade in contrast with the somber practicality of garments worn during the Great War. Men's trousers were worn cuffed to ankle-length and creased. Skirts rose from floor length to well above the ankle, women began to bob their hair, and the stage was set for the radical new fashions associated with the Jazz Age of the 1920s.
A man's suit of clothes, in the sense of a lounge or business or office suit, is a set of garments which are crafted from the same cloth. This article discusses the history of the lounge suit, often called a business suit when featuring dark colors and a conservative cut.
Vera Borea is a French fashion house founded in 1931 in Paris, France, by Countess Borea de Buzzaccarini Regoli.
An overskirt is a type of women's short skirt which is draped over another garment, such as a skirt, breeches, or trousers. Although peplum is often used as another term for overskirt, it should not be confused with the peplos or "peplum dress", which was worn in ancient Greece.
Oversized fashion, distinct from plus-sized fashion, consists of clothing and other accessories that are larger than normal and reflect some sort of attitude, message, or trend of the period at hand. While oversized fashion trends from the 1920s to the turn of the century vary from decade to decade, there are many overarching themes that have been expressed during the past one hundred or so years. Masculinity, for example, has played a large role in many of the underlying communications of the fashions, although virility is manifested differently in the clothing depending on the era. Oversized fashion production, furthermore, runs largely parallel with the states of the American and global economies. Modernly, oversized fashion has taken on a new form - primarily in the realm of oversized accessories.
A mantua from the collection at Kimberley Hall in Norfolk is the earliest complete European women's costume in the Costume Institute of the Metropolitan Museum of Art in New York. Also known as the Kimberley Gown, this formal dress is a mantua, a two-piece costume consisting of a draped open robe and a matching underskirt or petticoat, and has been dated to ca. 1690–1700.