Fashion Designs Drawing Hair and Outfits

Jeanne Paquin (1869-1936), way design, Paris, 1907. Museum no. E.1432-1957

1900s

For most of the offset decade of the 20th century, fashion mainly showed seasonal modifications rather than whatsoever fundamental changes. All the same, as the century unfolded, the concept of the 'natural figure' banished the corseted and exaggerated S-shaped effigy that was fashionable at the first of the decade. These innovations, a significant liberation for women, were accompanied by the introduction of potent and vibrant colours.

'Originality and Opulence': the Firm of Paquin

In 1890 Jeanne Paquin (1869 - 1936) and her married man Isidore Paquin opened their Maison de Couture Rue de la Paix in Paris, shut to the historic House of Worth. Paquin soon became famous for introducing coloured lining to otherwise mournful looking black coats, and for adding embellishments of lace or rich embroidery to black dresses. The innovative nonetheless subtle apply of furs became one of the house's trademarks. In an age when fashion advertising was in still in its infancy, Jeanne Paquin was the outset couturier to send mannequins to the trend-setting and trend-spotting races at Longchamp and Chantilly.

In 1900 Jeanne Paquin was elected president of the Manner Section for the Universal Exhibition and, throughout her career, many of her creations participated to those international fairs. The originality and opulence of Paquin's designs soon bolstered the international reputation of the manner house. One of her greatest achievements was the opening of strange branches in Buenos Aires, Madrid and London - she was the first Parisian couturier to take this pace and many followed her lead. She was the showtime woman in her field to be awarded the Légion d'Honneur in 1913.

At Jeanne Paquin's death in 1936, the firm passed into the hands of the Spanish couturier Antonio Canovas del Castillo. Paquin bought the Firm of Worth in 1953 but airtight its doors on 1 July 1956. The V&A has a magnificent collection of Paquin sketch books, ranging from 1897 to 1956.

1910s

The 1910s were a period of dramatic change in manner. Though many trends had their roots in fashions of the previous decade, the First Earth State of war cemented the move towards more than practical, less restrictive clothing. As women were called into factories and offices, stylish wearing apparel simplified and shortened.

Florrie Westwood

Florrie Westwood (dates unknown) was a London designer active in the early part of the 20th century. Goose egg much is known about her apart from her drawings, from which we can run across that she produced elegant high-end, if conservative, fashions. Many hundreds of at present-anonymous dressmakers and designers like her existed in towns and cities across the country until the middle of the 20th-century mass-marketplace set up-to-wear clothing came to dominate fashion.

1) Florrie Westwood, fashion design, London, 1918-ix. Museum no. Due east.1539-1977

1) The three 'Original Designs' in the image from 1918 - 1919 are very typical of the tardily 1910s. They feature high waists and feminine materials and colours. They as well anticipate the androgynous wait of the 1920s with their linear, directly silhouettes. The designer's ain descriptions of the dresses, written next to them are:

'Left: Dress of mauve taffeta and ninon, with insertion of ivory lace. The sash is of mauve ribbon to match the dress.

Center: A elementary evening frock of powder blue satin & shell pinkish tulle. The wide sash is pansy black ribbon with bright appliqué orange flowers.

Correct: Frock of ivory crepe georgette, with two deep bands of peach coloured self material. The insertion is very fine lace.'

2) This fashion illustration portrays three afternoon dress designs drawn in pencil and colour wash. It is signed and dated past the artist. Such a collection of designs seen together demonstrate the increasing tendency for women to abandon the restrictive corset. During the early years of the 1910s, designers started to promote the use of lighter and softer fabrics in club to brand their creations increasingly free flowing. This new approach focussed on fluidity provided a contrast with the strong and Due south-Curve silhouettes of the previous decades.

three) These 4 different designs for winter coats by Florrie Westwood are dated 15 January 1919. They emphasise the new fashion for the linear silhouette and talocrural joint length designs. They also show the new shape (higher neck roofing and greater shoulder coverage) of fur collars and cuffs.

3) Florrie Westwood, fashion pattern, London, 1919. Museum no. Due east.1538-1977

2) Florrie Westwood, fashion design, London, 1918. Museum no. E.1536-1977

Melanie Vermont

The designs by Melanie Vermont (1897 - 1972) in the V&A collection were given to the museum by Mrs M. Goldflame, the niece of the artist. At that time, Mariano Fortuny (1871 - 1949), a Spanish designer based in Venice, invented a new special pleating process and new dyeing techniques for his dress designs. His innovative designs were inspirational to other designers, but also hugely successful as they gave women the freedom of motion they had been peckish.

4) These two evening apparel designs in pencil by Melanie Vermont in the image to the correct are good examples of how, at that period of time, designers increasingly used flowing material which enabled them to create dresses with elaborate drapes, thereby moving away from the restrictive corsets stylish in the previous decade. During the early years of the 1910s, designers started to promote the use of lighter and softer fabrics in order to make their creations increasingly complimentary flowing. This new approach focussed on fluidity provided a contrast with the stiff and S-Bend silhouettes of the previous decades. The tunic in the right mitt design is fabricated out of pleated cloth.

5) This analogy shows 5 designs for girls costume in pencil and colour wash. In this decade, the emphasis for children's dress changed from the waist to the hip, and dresses and skirts too became shorter (above the knee) equally shown in these designs. The central figure is wearing a dark-green coloured day clothes with a pleated skirt and an elaborate belt which matches her pocket-sized neckband and the sleeve cuff. Also shown are 2 coat designs. The second figure to the left is wearing a white and crimson chequer short glaze with Alamo buttons whereas the further effigy on the correct is wearing a white and navy striped coat with crewman navy neckband and matching cuffs.

four) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. E.957-1977

5) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. E.954-1977

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1920s

Developments in fashion following the war were profoundly influenced by the changing attitudes of women. Younger women were empowered past their wartime independence and deliberately flouted the style preferences of their mothers' generation for flounces, frills and lace. They cropped their hair and wore skirts to the knee joint, with simple, linear dresses that gave them a adolescent silhouette.

Norman Hartnell

6) Norman Hartnell (1901-79), style blueprint, London, 1920s. Museum no. East.29-1943

London-built-in Norman Hartnell (1901 - 79) prepare his fashion house in 1923 and presently became famous for his lavish and romantic evening and bridal gowns. Hartnell is credited with introducing the longer-length skirts that would marking the end of the flapper era and his designs were sought afterwards by the sophisticated British 'aristocracy'.

Very much a 'gild' dressmaker, Hartnell is, all the same, mayhap all-time known for his long-standing association with the English language Royal family unit. He designed the wearing apparel worn by Queen Elizabeth for her wedding to Prince Philip, the Duke of Edinburgh in 1947, also as her coronation robes in 1953. In 1977, Hartnell was appointed KCVO, the first knighthood conferred for services to fashion.

6) Hartnell designed this dress with 2 materials in listen: the under dress is of solid material and is covered from shoulder to hem with chiffon. The apparel has a boat neck line with tight sleeves up to the elbow where they fan out with 'scollop' edging. This matches the hem of the apparel. Hartnell supplemented the blueprint with a beaded chugalug with tassels, matched with a band of beads on the sleeves. The design also shows a large head band with sparkling embroidery. The simplicity and grace of this dress would have been perfect for the fashionable cocktail parties of the era.

Hilda Steward

Null much is known about Hilda Steward apart from her drawings, from which we can see that she produced elegant high-end fashions. Many hundreds of now-anonymous dressmakers and designers like her existed in towns and cities across the land until the middle of the 20th century, when mass-market ready-to-vesture wear came to boss manner.

7) This sleeveless evening dress was designed by Hilda Steward in 1920 appears to be made in satin with a curt lace three layer overskirt hanging from the belt. The belt is slightly college than the waist in the front and supports the overskirt only from the side to the back - leaving the front completely free.

The figure is wearing a bracelet in a higher place the elbow and a large head ring typical of the 1920s to agree the new short stylish hair cutting. The designer'south signature appears in the bottom right hand corner in the class of her two initials overlapped, including the date running alongside it in a vertical strip.

viii) This is a pattern for an orangish day wearing apparel with an overskirt fabricated past ii pleated panels. The effigy is belongings a fur wrap which looks like Sable; it matches some fur details on the dress including those on the hem. The large skirt blackness lid has two Ostrich feathers.

The belt is to exist held by a gold ornament. The designer's signature appears in the lesser right hand corner in the form of her two initials overlapped, including the engagement running aslope it in a vertical strip.

8) Hilda Steward, fashion pattern, London, 1923. Museum no. E.1039-1988

vii) Hilda Steward, fashion design, London, 1920. Museum no. Due east.1045-1988

Victor Stiebel

Victor Stiebel (1907 - 73) was born in South Africa in 1907 just settled in England in 1924. After working for three years at the Firm of Reville, he opened his ain way firm in 1932. A founding member of the Incorporated Gild of London Mode Designers, Stiebel was appointed its Chairman in 1946. Stiebel was highly successful and his clientele included the leading actresses of the day, merely as well royalty and members of the aristocracy. He created the going-away outfit for Princess Margaret on her marriage to Lord Snowdon in 1960.

The designs by Victor Stiebel in the Five&A collections cover the period from 1927 to 1935.

nine) The face of the model in this drawing, with the heavily emphasised eyes, follows the tradition established by silent-screen star Theda Bara, who popularised the word 'vamp' (a contraction of vampire, which she played in one of her films) to mean a predatory female, whose heavily khol-encircled optics were her most memorable characteristic.

The combination of pilus and collar throw emphasis onto the eyes and claret red lips. The bare left shoulder is balanced by the weight of the pilus beingness also on the left, while the bare shoulder and leg, at once revealed and concealed by the fabric strips, hint at intention and curtained delights.

x) This is a Stiebel design for an evening gown in black and silver with an appliqué or embroidered snaked coiled round it from an uneven hem to bodice. It is striking and original in all its details. The inside of the dress is lined in green - this contrasts the black exterior.

The dress has a square neck line with large shoulder straps. The model is wearing a pearl chocker with matching earrings and bracelet. The curt bob pilus cut with a fringe was typical of this era. At that place is a slight sketch for a dress on the mount of this design.

ix) Victor Stiebel (1907-76), fashion design, London, 1928. Museum no. S.545-1983

10) Victor Stiebel (1907-73), fashion blueprint, England, nigh 1927. Museum no. E.1077-1983

1930s

Following the crash of 1929 and the Slap-up Depression, new, more than down-to-earth attitudes forced on the world offered not bad scope for a new simplicity, every bit encapsulated by Coco Chanel (1883–1971). In Great britain, fashion became more eclectic merely too more feminine and graceful and, by 1930, the 'boyish' look had disappeared.

Victor Stiebel

xi) Mode design, by Victor Stiebel, London, 1933. Museum no. S.544-1983

Since the mid 19th century, couturiers had dressed major theatrical stars. Victor Stiebel (1907 - 1976) had designed productions while at academy, before working in dress design at the Business firm of Reville. In 1932 he opened his own way house and was shortly in demand to provide contemporary costumes for leading actresses. Mary Ellis, for whom this costume was designed, was a leading actress and singer, and to apparel her in a prestigious musical written by Jerome Kern and Oscar Hammerstein Ii and produced by C B Cochran would have been an fantabulous advertizement for the immature couturier. He designed all her dresses in the product and those for her co-star, Eve Lister, and all the modernistic dress in the Zoo and rehearsal scenes; the residual of the costumes came coming from the Cochran wardrobe and the costume firm of Morris Affections & Son.

11) The clothes was the height of chic, with its huge pleated shoulders, bold bow, nipped in jacket and long skirt. The gauntlet gloves helped residuum the wide shoulders, while the large bow drew attention to the face. Although the design is coloured stake orange, the notes indicate that it should be made in chartreuse greenish satin, contrasting with the skirt'south dull fabric and the exotic fur of the gauntlet gloves. Such designs were meant to flatter the wearer rather than the wearer exist subservient to the designer and the leading lady would have had approval and maybe even a selection in the couturier.

12) The flared lower brim of this blueish dress by Stiebel is an example of the new cut introduced in this decade. The cut is characterised by its simplicity and Stiebel introduced a neckband with a bow and tall cuffs all designed with multi-coloured ribbon to break the monotony.

These details lucifer the slim orange belt. There is an inscription in pencil reading: "I am enclosing bits of ribbon the blazon I should like for the collar and cuffs".

thirteen) In the 1930s it became stylish to wear 'house pyjamas' – trousers with large bottoms made in a soft textile. This blueprint by Victor Stiebel shows how this concept could be transformed for more than formal occasions from house cocktails to cruise parties.

Like designs were also created by the Surrealist designer Elsa Schiaparelli. Stiebel's halter neck, sleeveless elevation contrasts the big lesser trousers wonderfully. The design includes bright orange gloves, a brim chapeau and matching shoes.

12) Victor Stiebel (1907-76), fashion blueprint, London, 1934-five. Museum no. E.1075-1983

13) Victor Stiebel (1907-76), manner design, London, 1934-5. Museum no. E.1074-1983

Norman Hartnell: fashioning royalty

fourteen) Way blueprint, past Norman Hartnell, London, 1936-9. Museum no. E.37-1943

In 1935 Norman Hartnell received his offset Regal commission and from that moment right up to his expiry in 1979 he continued to create original designs for the Royal family unit, of import members of British society, too every bit international figures. The V&A collections contain a keen number of examples of Hartnell's pre-war designs reflecting his highly sophisticated, elegant, and unsurpassed use of material and embroidery. These two Later Six dresses were designed for H.R.H Princess Elizabeth; both are extremely feminine and delicate.

14) This evening apparel was designed for H.K. Queen Elizabeth. A pencil inscription 'Gala' at the bottom of the page suggests that it was designed for an of import occasion. The dress is entirely covered with an array of coloured sequences and would take undoubtedly bedazzled boyfriend guests. The boat line neck is also trimmed with sequins; the sleeves are three-quarter in length and embroidered to the tip of the shoulder.

The back has a long detached trail also fully embroidered edged with blue and pink patterned sequins in the shape of pyramids. The Queen is depicted wearing a diamond tiara. This ensemble is farther enriched by elaborate pearl necklace and matching earrings. Across the left shoulder the Queen is too shown wearing a regal sash - supported by a ruby-red and diamond jewel. This dress exemplifies Hartnell's skill in designing dresses with elaborate embroidery.

15) This design is a total-skirted tier dress with minute waist with tiered yoke forming puff short sleeves. The skirt is all threaded with light blueish coloured ribbon which emphasises the different layers. The wearing apparel is worn with matching jewellery and gloves.

The 2d design in pink cyberspace has a pointed waist band which holds a full net skirt scattered with stake blue ribbon. The trunk has a pocket-size heart shaped decolté trimmed with the aforementioned blue ribbon and the sleeves are exaggerated curt and puff. In addition there is a flower decoration on the left side of her neck.

16) This design for a formal evening dress was particularly created for H.M. Queen Mary. The dress falls in a direct line with a slight trail at the back. The elongated v-neck line is trimmed with lace.

On tiptop of the clothes he created a loose jacket with sleeves trimmed with Mink fur and edged with lace. This luxurious ensemble is completed with a magnificent row of jewels at the neck and a sparkling tiara.

16) Norman Hartnell (1901-79), fashion blueprint, London, 1930s. Museum no. E.nineteen-1943

15) Norman Hartnell (1901-79), fashion pattern, London, 1930s. Museum no. Eastward.15-1943

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1940s

World War II had a profound effect on fashion and it became regulated and framed past government decrees. However, despite these strict regulations and the violent upheavals brought virtually by state of war, couture design, led by a talented group of dressmakers, flourished.

The New Look

'I designed clothes for flower-similar women, with rounded shoulders, full feminine busts, and hand-span waists above enormous spreading skirts.'

It is with those words that Christian Dior (1905 - 57), described the impact of his showtime drove in the Spring of 1947. At the fourth dimension, rationing was still in place and austere, armed forces styles were worn. Dior introduced hourglass silhouettes and luxurious fabrics, softening previously indigestible shoulder pads and cinching the waist for a pronounced feminine await. So popular was his first drove that it was dubbed 'the New Look' past the press and was instantly emulated by designers across the world.

17) Fashion design, by Marjorie Field for Field Rhoades, London, 1940s. Museum no. Eastward.426-2005

17) This design past Marjorie Field depicts a woman wearing a tailored, printed suit and a large chapeau decorated with feathers on both sides. A double-row of buttons are sewn onto the waistline of the jacket giving an impression of a minor waist. In her right hand, she holds an umbrella made out of the same textile as the suit. Marjorie Field was a high-end London designer, who quickly adopted Dior's fashionable New Wait silhouette into her designs.

18) Italian-born René Gruau (1909 - 2004) moved to Paris in 1924 and started his career as fashion illustrator in the virtually prestigious magazines, including L'Officiel and Marie Claire. His collaboration with Christian Dior started in 1947 and Gruau, who perfectly captured the essence of the New Expect, soon became an acclaimed figure in the earth of Haute Couture. This drawing was commissioned for the fashion mag 'Femina' around 1949.

xix) This is a design by Bernard Blossac (1917 - 2001). Blossac was a way illustrator, who regularly drew for Vogue, L'Officiel and Harper's Bazaar. This drawing depicts a black bolero with a floral pattern in the 'New Await' style.

18) René Gruau (1909-2004), fashion illustration, Paris, 1949. Museum no. E.397-1986

nineteen) Bernard Blossac (1917-2001), fashion illustration, Paris or London, late 1940s. Museum no. E.167-1987

Marjorie Field

Marjorie Field (Field Rhoades), fashion design, London, 1940s. Museum no. E.430-2005

The V&A has a substantial collection of high quality designs past Marjorie Field for the couture firm Field Rhoades. The provenance of these designs can be traced back to Gwen Mandley, an artist and friend of the designer. Field Rhoades was registered in the London street directories at 77, Southward Audley Street, London W1 for the years 1948–49; this corresponds to the date of the designs establish in this collection. Marjorie Field likewise designed under the proper noun, or for the firm, 'Matita'. Matita were a loftier-finish ready-to-habiliment company who regularly advertised in Vogue during the 1940s.

xx) Fashion design, past Ursula Sternberg-Hertz, London, near 1947. Museum no. Due east.844-1989

Ursula Sternberg-Hertz

Ursula Sternberg-Hertz was a well respected painter who exhibited extensively in Europe and the Us. In the 1940s, she submitted a contest entry to the Ascher textile house in London, who were renowned for working with fine artists to create patterns and designs for silk scarves and furniture fabric. She won tertiary prize but worked for the Ascher Studio for a twelvemonth and for many years as a complimentary-lance designer.

xx) This painted sketch of a fashionably dressed female effigy decorates the front board of Ursula Sternberg Hertz'south folder of designs for textiles and dress, oiginally submitted to Ascher as part of an entry competition. This assuming and colourful board demonstrates the importance the designer gave to overall presentation. The inscriptions are in watercolour and read 'Sender Ursula Sternberg-Hertz London 30 Ch. De Boitsfort Bruxelles and Ascer Wigmore Street London'. The folder is held together with a dark-green velvet ribbon.

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1950s

Ofttimes associated with the ascension of youthful, ready-to-article of clothing fashions, the fifties were nevertheless a prolific and successful decade for the fashion 'institution' as embodied by couture houses and traditional dressmakers. Fashion illustration continued to flourish in the plethora of magazines published at the time.

Sigrid Chase

Sigrid Hunt (later Roesen) was a fashion illustrator and editor. She came to England from Berlin in the early 1930s and worked for prestigious publications including Vogue, Tatler, and The Sketch. From the belatedly 1950s to 1971 she worked in Germany for the Sudkurrier Welt der Frau and Dice Style.

The various preparatory phases shown for the Tatler forepart comprehend of 5 May 1954 hither illustrated are a adept example of the process and various stages of magazine illustration.

Sigrid Chase, pencil sketch, United kingdom of great britain and northern ireland, 1954. Museum no. E.687-1986

Front cover of Tatler, featuring design past Sigrid Chase, 5 May 1954. Museum no. E.684-1986

Sigrid Hunt, colour blueprint, Britain, 1954. Museum no. E.685-1986

Jean Demarchy

Jean Demarchy (dates unknown) was a 1950s fashion illustrator who worked in soft pastels to create romantic, abstract, images of couture. Arguably, illustrations such every bit these fitted meliorate with the luxurious and feminine ideal of couture than photography. These illustrations, especially from the Stiebel collection of 1953, display some of those shared aesthetics in the way they convey the soft, tactile nature of the fabrics.

All the same, the privileged status of fashion drawing faded rapidly during the 1950s, and photography soon gained more prominence in post-war magazines that wanted harder-hitting imagery.

21) This paradigm was drawn for Harper's Boutique around 1955. It shows a glamorous evening apparel past Christian Dior (1905–57), featuring a full skirt and elaborate bustle bow.

22) This illustration features an evening dress past the London couturier Victor Stiebel (1907-76), fatigued for Harper's Bazaar in 1953. Stiebel liked using bold, contrasting stripes in his designs, and too typically referenced historical dress with voluminous panniers and bustles.

21) Jean Demarchy, style analogy, Paris or London, well-nigh 1955. Museum no. E.685-1997

22) Jean Demarchy, fashion illustration, London, 1953. Museum no. East.686-1997

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1960s

Earlier the late 1950s and 1960s, teenagers were expected to apparel and behave very much every bit their parents. The 'Swinging Sixties', however, saw the emergence of a new youth market as teenagers rebelled against the aesthetics and values of their parents' generation and established their own trends in fashion and music.

Amongst other things, the mini-skirt was introduced, and couture was seen as very old-fashioned. London - not Paris - was leading way now, nurtured by the city's fashion schools and colleges, who were providing creative environments for crops of immature, talented designers.

Mary Quant

23) Mary Quant (b.1934), fashion design, London, mid 1960s. Museum no. E.520-1975

The daughter of Welsh schoolhouse teachers, Mary Quant (born 1934) gained a diploma in Art Education from Goldsmith's Higher, London. At that place she met Alexander Plunket Green, who later became her business concern partner and husband. Apprenticed to a milliner, Quant began to make her own clothes. These were influenced by the Chelsea beatniks she knew and trip the light fantastic outfits she remembered from childhood lessons.

In 1955, at a fourth dimension when 'fashion wasn't designed for young people', Quant opened Bazaar, a boutique on the King'south Route. She devised center-catching window displays to attract customers. Her clothes were made upward of simple shapes combined with strong colours like scarlet, prune and light-green. Prices were low compared to those charged for haute couture.

Famed for popularising the mini skirt, in 1966 Quant was awarded an OBE. In the early 1960s her designs were bought by the concatenation shop J.C. Penney to be mass produced for the American market place. The Quant label began to appear worldwide on accessories and make-upward.

23) This design has a liberty bodice, long narrow sleeves and a front vertical cipher. The skirt is very brusk and trimmed on the edge with a yellow colour. The same colour tights are worn. There is a small babe collar and a very narrow belt with a front buckle. Mini skirts and dresses were a highly fashionable new tendency in the late 1960s and continued for quite a while after this.

24) This bold design for a putty aubergine mini dress is fabricated with a small liberty bodice with a full mini skirt attached to it. The tiptop of the dress has a moo-cow neck in yellow material inside and on the outside is beige with yellow.

There is a matching head scarf, belt and cuffs. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and connected for quite a while after this.

25) In this blueprint Mary Quant decided to ignore the waist and added a very brusque frill brim attached to the body of the dress creating the 'mini' effect. The sleeves are very brusque and bounded by glace child ruddy leather. The main dress is fabricated out of pink Jersey wool.

The collar and the forepart slit are all bounded past the same glace kid leather as the sleeves, the leather has brass eyelets to enable the threading of shoe lace blazon ribbon. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and continued for quite a while after this.

24) Mary Quant (b.1934), fashion pattern, London, mid 1960s. Museum no. E.525-1975

25) Mary Quant (b.1934), manner blueprint, London, mid 1960s. Museum no. East.523-1975

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1970s

The 1970s were a pioneering decade, and saw the evolution of style into a declaration of individuality. Seen every bit the reflection of the taste of the wearer, one of the consequences of these sartorial changes, was that fashion increasingly, became the concern of men besides as women.

'Manly Sweater' fashion blueprint, past Patrick Caulfield for Ritva, London, 1972. Museum no. East.413-2005

Ritva and Patrick Caulfield

The Ritva knitwear house was gear up by Mike and Ritva Ross in 1966, producing revolutionary machine-knitted womenswear in bold colours and slinky shapes. These were sold in some of the most stylish department stores and King'due south Road boutiques, and from 1972, in the Ross'due south own shop.

A new direction in men'south knitwear came in 1969 when Mike Ross designed a line of appliquéd 'Ritva Man'south' sweaters inspired by baseball shirts (the V&A collection includes a prototype, Museum no. T.14-2000). Each sweater was unique, with its own colourway.

This led to the Artist Collections of 1971 and 1972, when Ross invited creative person friends, including David Hockney and Elizabeth Frink, to design 'wear works of art'.

Artist Patrick Caulfield's (1936-2005) 'Manly Sweater', with its appliquéd leather patches and 'trompe 50'oeil' piping, is an ironic version of traditional 1950s masculinity. The V&A has also acquired Caulfield's original drawings for the sweater and seen together these represent an unusual document of a collaboration betwixt art and mode.

This coloured pencil drawing on paper includes an chemical element of collage. One smaller slice of paper with a single cartoon is mounted on a larger piece of newspaper with further drawings. Drawings depict various versions of a pipe and breast pocket. One chest pocket drawing also depicts an image of a bird. Some annotations on black pencil, including the artist'due south name and title 'P C Manly sweater'.

Patrick Caulfield (1936-2005) for Ritva, 'Manly Sweater' way design, London, 1972. Museum no. East.414-2005

Patrick Caulfield (1936-2005) for Ritva, 'Manly Sweater', London, 1972. Museum no. T.18-2000

John Bates

A prolific and innovative designer, John Bates (b.1938) oftentimes incorporated metal, plastic and transparent fabrics in his creations. He is perhaps best remembered as the designer of Diana Rigg'south wardrobe for the television series The Avengers in 1965.

26) This 1978 wearing apparel in silk is an interesting pattern with square shoulders and blouson torso and an intricate cut full brim. There is a tie belt around the waist and the sleeves have flare cuffs similar to the high collar.

27) This 1974 design is for a long printed Kaftan with an undulated bottom. The sides are finished with tassels. The impress is peculiarly cute and individual you can come across the detail of stylised flowers and birds. This is complemented by edge stitching around the Kaftan. The exotic element to this design makes it peculiarly striking.

26) John Bates (b.1938), fashion blueprint, London, 1978. Museum no. E.570-1975

27) John Bates (b.1938), fashion design, London, 1974. Museum no. E.569-1975

Zandra Rhodes

A graduate of the Royal College of Fine art, Zandra Rhodes (b.1940) became famous for her prints on chiffon, and her use of flamboyant, vivid colours. Her designs were considered also extravagant by British manufacturers and she set up her own retail outlet on Fulham Road, London, in 1969. Rhodes' extravagant advent and style often attracted considerable publicity. She is credited with having introduced Punk fashions to the fashion industry with her 1977 drove entitled Punk Chic.

Zandra Rhodes (b.1940), design for a fur glaze, London, 1970s. Museum no. C.282-1974

Zandra Rhodes (b.1940), pattern for a fur coat, London, 1970s. Museum no. C.286-1974.

Bill Gibb

28) Bill Gibb (1943-88), fashion pattern, London, 1970. Museum no. E.123-1978

Bill Gibb (1943–88) was a fashion designer whose creations defined the 1970s look. He opened his boutique Alice Paul in Kensington in 1967 and starting time designed for the youth marketplace, with clean lines that bore the banner of contemporary trends. In the 1970s, his style developed along eclectic and romantic lines inspired past the hippie scene and by medieval and pre-Raphaelite painting.

28) This is a way blueprint for a long pleated skirt, long-sleeved blouse, laced jerkin and cloche chapeau, with two textile samples attached. This pattern featured in Vogue in 1970, and the Sunday Times among other magazines. This design shows how different wool fabrics are used with dissimilarity color and design.

29) Jacket design with beret.

xxx) This is a design for a printed leather and suede pattern jacket with a hood. The Patterns seem influenced past ethnic designs. Other designs in the later 70s started to use a mixture of unlike fabrics and colour, for example leather with chiffon) This pattern is a good instance of how leather was processed in a more stylish and colourful style during this flow.

29) Bill Gibb (1943-88), fashion pattern, London, 1976. Museum no. E.127-1978

30) Bill Gibb (1943-88), fashion design, London, 1976. Museum no. E.128-1978.

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1980s

The increasing profile of women in the work place required a new way aesthetic, and the decade witnessed the emergence of 'Ability Dressing'. Broad, padded shoulders became fashionable and women's apparel were inspired by masculine style and tailoring traditions. The period also saw the display of lavish evening wear, as exemplified by the opulent dresses of Oscar de la Renta.

Oleg Cassini

Oleg Cassini (1913–2006) was a prominent American fashion designer who famously dressed Jackie Kennedy, during her years in the White House. Cassini as well had a lucrative ready-to-article of clothing and licensing business organization with a wide range of branded accessories and cosmetics.

Fashion design, past Oleg Cassini, United States, 1988. Museum no. Eastward.25-2000

Fashion design, past Oleg Cassini, Us, 1988. Museum no. E.24-2000

Bill Gibb

Bill Gibb (1943–88) was a fashion designer whose creations defined the 1970s look. He opened his boutique Alice Paul in Kensington in 1967 and start designed for the youth market, with clean lines that bore the imprint of contemporary trends. In the 1970s, his mode adult forth eclectic and romantic lines inspired by the hippie scene and by medieval and pre-Raphaelite painting. His romantic aesthetic was less successful during the 1980s and he presented his last total collection in 1985.

The drawing below right shows a design for the pop star Lynsey de Paul, for her performance at the Royal Multifariousness Show, 1986. Information technology is executed in colour wash, black ink and felt tip pen. Past this time, Gibb's concern was failing and this pattern may exist i of his last.

Fashion blueprint, by Bill Gibb, London, 1986. Museum no. E.522-1993

Costume pattern, by Nib Gibb, London, 1986. Museum no. East.523-1993

Antoni & Alison

The London based fashion pattern duo, Antoni & Alison, are Antoni Burakowski and Alison Roberts. They met in 1982 when studying fashion at St Martin'southward college. They are known for their eclectic and playful designs, including ranges of slogan and vacuum packed T-shirts.

Antoni & Alison, mode pattern, London, tardily 1980s. Museum no. E.679.2-1997

Antoni & Alison, style blueprint, London, late 1980s. Museum no. East.680.2-1997

Antoni & Alison, fashion blueprint, London, tardily 1980s. Museum no. Due east.679.2-1997

Manolo Blahnik

Manolo Blahnik (b. 1942) is one of the almost prominent and successful shoe designers of his age. His creations were famously immortalised in episodes of Sexual practice and the City, and his proper name is at present synonymous with luxurious and exquisitely designed shoes. He was awarded an honorary title of Commander of the British Empire in the Queen'due south 2007 Birthday Honours Listing, for services to the British way manufacture.

These designs are for ladies shoes, for possible production by Zapata Shoes Ltd, London, 1980.

Manolo Blahnik (b.1942), pattern for a shoe, Britain, 1980. Museum no. E.1334-1979

Manolo Blahnik (b.1942), design for a shoe, Britain, 1980. Museum no. E.1331-1979

Manolo Blahnik (b.1942), design for a shoe, Britain, 1980. Museum no. Due east.1332-1979

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