Embellishment:Velvet & Lace

Looking at a small part of the dress I am very intrigued by the Designers use of different decorative details. The designer who is unknown has used a variety of materials: woollen face cloth, velvet and lace. This gown was most likely designed for springtime wear. Woollen face cloth was a very fashionable material during the 18^th century. The sleeves are exotic, created with lace and the colour scheme is very exquisite- a creamy white which makes a very harmonious composition and fits perfectly for the Spring Season.

Day gown,

Woollen face cloth, velvet and lace

English or French, 1903-5

Given by Lady Hoyer Miller

Circ. 175-1961

Embellishment:Buttons#6

The thoroughly detailed pocket flap on this tailor made day outfit in charcoal grey wool and mohair are completely decorative. There are no pockets on these garments. Each pocket has two pairs of bold fastening, large velvet buttons and decorative frogging made of velvet rouleaux.

I like the classy grey material used. It looks very rich and I really like the black velvet with grey stripes. I thought the idea of decorative frogging was very smart and makes an even better decorative detail.

Jacket, woven woollen cloth, denim

Culture Shock (Yuzun Koga and Jeannie Macarthur)

English, Summer 1986. Label: Culture Shock

T.149-1986

Embellishment:Sequins#3

Black sequins are highly attractive and elegant! Designed by Dior is this 1961 evening ensemble-short dress. The whole short dress is covered by a monochrome pattern created from thousands of overlapping sequins; they are thoroughly aligned in different directions to from a diamond trellis design. I like the glittery effect that the dress has and you can clearly see the rigid pattern through the sequins. The colour is fantastic because it reflects nicely; when hitting the light it would appear in many different shades of black, grey and silver.

Evening dress and jacket,

‘Maxim’s’ velvet, silk and sequins. Marc Bohan for

Christian Dior. French, Autumn-Winter 1961

Label: Christian Dior

Paris Automne-Hiver 1961 111396

T.130 & A-1974

Embellishment: Wedding Bells

 

 

This was worn for a wedding in 1909; created from silk chine seemed to have been remodelled from a late 19^th century evening dress.

This design just amazed me that I just had to have it on my Blog!

The colours are so captivating and very vivid! It has a mixture of many different little specks of pastel colours in the pattern of floral bouquet and garlands in pinks, blues, greens and yellows; all based on a very fine taffeta.

This is a wedding juxtaposition as this is a dress that has been unpicked and re-made.

I really like the furnished lace created for the end of the sleeves and the very nice pattern the cords and tassels in the middle of the dress create. This then is further embellished with silk bobbles. The base of the dress is a cream silk. It seems quite heavy but it seems that as to hold it together, it would contain a lot of thick material.

I think this magnificent design is very attractive; a lot of skill and effort has gone into it. Absolutely Beautiful Design; just shows how detail could actually be the best thing about a dress.

Wedding gown, chine

Silk taffeta, revival lace and tassels. English 1909

Worn by Mrs P Adams at her wedding in 1909

Given by the friends of the late Pearl Adams

T.52-1957

Sparkling New#1

Sparkling New...

 

 

This dress is a very graceful dress which seems very fragile. I think of this as a very simple design of a wedding dress. (I wouldn’t mind).

It seems to have a tad bit of an asymmetric bottom to the dress which I like, which makes the back of the dress of the back accentuated in length. It is not white which I also very much like, but has a very champagne like colour to it. It has an embedded pattern within the dress. It contains pearls which I am sure were considered as quite a wealthy attribute.

Very delicate material used, it seems quite a heavy dress as we can see a lot of material has been used for the lower waist part of the dress.

Love this, just simply Beautiful.

My Blends of Tartan

My Blends of Tartan...

 

I really like the Tartan print on the skirt; the Scottish influence on this garment is huge. The colours used seem to have a royal connotation which explains the blue. I think they are also very unusual mix as well though they fit very well together.

The blouse is very sheek to me, something that can be brought back into Fashion; the material seems very light and glossy but makes a very nice effect against the Tartan.

The skirt is over the knee which tells me that it was probably for the more classy people or the older generation of that time who didn’t like to show their legs.

It also consists of one of those big safety pins of some sort at the end of the skirt.

Very nice and creative look that I think if reinvented could become a very good look in this Modern day in age.

Something Different #1

Definitely not something I would wear right now, but I think it is a very Classic Look.

A very unusual combination of colours but nonetheless work very well together. I think the length of the dress is also very feminine, it is above the knee which obviously shows the designer wanted to capture a bit of sexiness or attraction to the legs as all the upper waist is covered. It is elegant, classy and for a very specific target audience. The style of the dress makes me think of a Working class woman in the old times.

Studwork#1

 

This is a jacket from the Katherine Hamnett Winter 1990 'Clean Up or Die' collection. 

Well, this is my first time looking at studwork. I thought to myself WOW, this is something you could do to those old garments that have more or less lost their spark!
Since the 1950, the black leather jacket had been adopted by the youth as a symbol of rebellion and defiance.

I like the rigid, hard effect that it gives to certain items-meaning this is perfect for leather jackets. It also reminds me of the Michael Jackson- Bad video as he used a lot of chain works-metal, silver items attached to his garment to in essence make him appear ‘Bad’. The connotations being that leather garments with silver chains, studs were meant to give you a very cold, solid look. 

Really nice, effective and SHARP!

Jacket, leather and metal studwork

Katherine Hamnett, English, winter 1990

Given by Katherine Hammnett

T.208-1990

Polka Dots#2

 Well I'm not really sure who designed this Beautiful dress, but it just captured my eye because of its Elegance. It is a Simple design but I just think it is enough to grab attention at a ball!

Sophisticated and quite Intriguing!

Embellishment:Freedom Pocket

This pocket was designed by Mr Freedom. The think I like about this Smock is the fact that the whole design is basic but when it comes to the pocket design, it is very decorative and bright in contrast to the rest of the smock.

I think it is very inventive, also a very small idea but has proved to be highly effective.

Smock, printed cotton, sattin applique pocket, satin tie.

Mr Freedom. English, July 1971

Label: Mr Freedom presents Pamela Mowtown, Designer

Extraordinaire styled in the modern manner, accept no substitute. Cartoon sketch of girl, with word bubble. Given by Mr Freedom

T.215-1974

Embellishment: Feathers

This Beauty designed by Givenchy is a very dramatic evening gown made of midnight blue silk and black tulle. He had decided to use green-black cockerel feathers to cover the dress. Each feather has been attached by a quill. They start off small and then gradually get bigger and much more curved towards the end. The feathers appear to look glossy and slightly metallic. This makes the feathers look very intense.

Feathers have been used in many different cultures for centuries.

Givenchy used this knowledge and created a very classy couture gown. I love the contrast of the colours. It creates a very nice sheen effect.

Very creative and artistic piece.

Evening gown, silk tulle, feathers and beads

Hubert de Givenchy, French, Autumn-Winter 1960

Label: Givenchy Paris made in France

Worn and given by Mrs Loel Guinness

T.224-1974

Embellishment:Buttons#5

I actually like the thought of baby pink with pink and white striped. It’s as if it has been made for a little kid. The embellishment on the lawn is very obscure; different sizes of floral designs which have been machine embroidered, all come together with a pink bow.

Non-functional buttons run the length of the entire dress.

I also really admire how simple each concept of the dress is, but when put together looks quite captivating.

Summer Day Dress,

printed cotton with embroidered lawn collar

English, c.1912

Label: Mascotte 89 Park Street Park Lane

Worn by Miss Heather Firbank

T.24-1960

Embellishment:Buttons#4

This is another dress designed by Bill Gibb. The reason why I was swept away by this dress was the very different types of buttons. The buttons are bees. Bill Gibb’s personal ‘signature’ motif was a bee and it appears on many outfits he designed in the form of embroidered and appliquéd details, belt clasps and buttons. In this case it was the buttons. These metal bees are fixed in black and yellow strips and white wings. I like how they stand out against the moss like green.

 I think it is Creative and I am also in awe of how the buttons have been sewn on in different ways.

Moss crepe evening

Dress with enamelled metal buttons

Bill Gibb. English, 1972. Label: Bill Gibb London

Given by Mrs Angela Dixon

T.172-1986

Embellishment

I am so in love with this design! This was an evening outfit designed by Bill Gibbs. It was made from furnishing fabrics in silk brocade, in pastel shades of pink and blue.

Gibbs has used seven pink fabrics covered buttons to accentuate the measurement lengthwise of the sleeves. I observe that he has also used a vast amount of fabric, which still manages to come out nicely. This makes a very nice effect on the garment for the reason that it has a selection however is still very wearable. The patterns appear to give off a very Vintage look with the various different patterns used.

The design was worn by Twiggy the model in 1970.

Very imaginative as well as creative. Beautiful Design.

Evening outfit, jacket and skirt, silk furnishing fabrics

Bill Gibb. English, 1970. Label: None

Given, and worn by Twiggy at the Daily MirroR Fashion

Celebrity Dinner, 22 October 1970

T.222 TO C-1974

Embellishment:Bows#3

This is a mini dress designed by Christian Lacroix.

Apart from the really nice polka dot effect and the stripy effect, I become aware that the Designer has created only a half bow at the end of the dress. It is very pensive and diverse and if it makes you question why the Designer has done it then I think they have been successful.
He had chosen ultramodern colours given the garment a very circus-like effect because of his use of polka dots and stripes at the same time.

‘Every one of my dresses possesses a detail that can be connected with something historic, something from past culture. We don’t invent anything.’

A very assorted type of Fashion, colours are bright and very futuristic.

Evening dress, silk satin with satin

Flounce and bow. Christian Lacroix. French, 1987-8

Label: Christian Lacroix Lux Paris

T.246-1989



Embellishment:Bows#2

This dress is not exactly my cup of tea but nonetheless contains elements that I highly admire.

From the Spring/Summer 1959 Collection of Christian Dior comes the evening dress.

The garment consists of a combination of matt and shiny materials. The tulle is embroidered with a vast amount of tiny jet beads and a cycle of black satin bows. This garment reminds me somehow of a wedding cake. I think this article of clothing is extremely refined; I like the way the dress is being gathered by the bows. This also brings to awareness that just as buttons can be embellishment as well as purposeful, so can other types of embellishment.

Very shiny material which I think makes it just that tad bit mote couture and could pass as a fairytale dress!

Evening dress, silk tulle, jet with satin ribbon bows. Christian Dior

French, Spring/Summer 1959

Label: Christian Dior Paris Made In France no.94460

Worn and given by the Duchess of Windsor

T.125-1974

Embellishment:Bows#1

From the Autumn Collection of Victor Steibel, the bow was used as a much exaggerated Embellishment for daywear. The bow may appear light in mass but in reality is weighty and requires the support of a horsehair frill. The bow during the 20^th Century was known as a branch of the New Look, launched by Christian Dior in February 1947. Old ways were being modified and whole new approach to Fashion had commenced. The bow in this case is an uncomplicated kind of embellishment but still manages to give the dress a bit more of an extravagant touch. The bow appears to give the dress a very garish and eye-catching effect. It is not necessarilt practical and could possibly make it hard to walk in but it makes a  very playful effect.

Day dress, silk grosgrain with self fabric bow

Victor Steibel. English, Autumn 1947

Label: Victor Steibel at Jacqmar 16, Grosvenor Street,

London, W1. Given by Lady Cornwallis

T.292-1984

Embellishment:Chiffon & Lace

This is a design created by Chanel.

I simply admire the lace contrasted with Sequins. I think it is very sophisticated and glamorous and a rather unusual combination of materials. Nonetheless, this helped me to acknowledge how different material can act as a decorative detail. The ruffles give it an elegant look and the soft cream contrasting with black is an excellent combination as I think white and black would have been too harsh as well as plain. The neckline with the frills could suggest classiness as well as dignity.However, it could be debated on what kind of event you would wear this to. I would say a meal or something that requires a touch of elegance.

Ensemble, trousers, jacket, covered with black

sequins over silk chiffon and lace blouse with peal buttons

Chanel. French, 1937-8. Label: none

Worn and given by Mrs Diana Vreeland

T.88 & A-1974

Embellishment:Buttons#3

Inspired by traditional Japanese attire, Lanvin has created a satin vening jacket fastended with a spherical, ridged brass button. The jacket wraps over asymetrically and functions with another second brass button at the wasitline. The Designers has used machine topstitching to cover the entire garment. The embedded lines on the garment makes it appear wider in size but nonetheless adds a very crucial effect as without the lines the garment would not look as appealing as well as quite sombre. The colour was a perfect choice; bright gold colour which is often associated with wealth and gives off the idea of elegance.

I believe the buttons were carefully selected to echo the garments lines of topstitching.

Overall, I really like the satin material used; very shiny and like the Far Eastern look. The button seems rather vintage and somehow takes effect as a juxtaposition. He has used very nice and soft satin material contrasted with a very hard nut-like button.  I really like how inventive Lanvin was because he could have made a normal jacket but instead created a stylish yet warm jacket.

Really Beautiful creation.

Evening jacket, machine stitched satin

Jeanne Lanvin, French, Winter 1936-37

Label: Hiver 1936-1937 Jeanne Lanvin Paris, France, 15 7 Worn and given by Mrs John Guinness

T.223-1976

Embellishment:Buttons#2

This cardigan also known as the 'Kitchen Sink' was designed by Vivienne Westwood. She used loosely woven dishcloth cotton, dyed purple.

She then used three huge burnished metal buttons to complete the look. They are made from 'Vim' scouring powder lids.

'What I'm not trying to do with my clothes is to make a kind of shell that stays in place half an inch away from the body. My clothes are dynamic. They pull and they push and they slightly fall off. There's more to clothes than just comfort. Even if they're not quite comfortable and slip and have to be readjusted now and again I don't mind, because that's some sort of display and gesture that belongs with the clothes'

I believe she portrayed this opinion very effectively through the use of an everyday domestic product.

The dyed purple I think looks very exquisite contrasted with the yellow cotton thread used to attach the buttons. She fabricated two colours which are both rather garish-choosing the right shades of them as well.The garment has a very rough look to it and gives off a very whimsical effect. The buttons also demonstrate a very clever approach; that you can more or less use absolutely anything to make buttons out of.

Woven cotton cardigan with

'distressed' metal buttons. (7.5 cm in diameter)

Vivienne Westwod. English, c.1982

Label:Worlds End McLaren Westwood

Born in England

T.366-1985

Embellishment:Yuki

I thought this garment was very inspirational for the fact that it forms a beautiful halter-neck dress when there are hardly any stitches involved, but the dress fabric actually taking its form.

This jersey fabric dress was designed from minimal construction and actually has no shape when not on a silhouette. When put on a body of some sort, it instantly takes shape and made lucid by the figure.

 

I just thought that Yuki was very smart for making a dress like this because it shows firstly that you can make clothes out of anything. I feel that this design could also be a metaphor of what she normally does.

When you make clothes, you use material that just comes in its normal form and hasn’t been put in any shape or form to fit a figure. When tweaked about with, it then gains a shape which is then suitable to put on a figure.

I think it could also be a juxtaposition in the sense that the first impression you would get of this garment if you saw it not on a figure was just a lifeless piece of material, but when actually put on is then full of life.

Evening dress, knitted rayon jersey

Yuki. London, late 1970s. Label:None

Worn and given by Gayle Hunnicutt

T.263-1989