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

1900s

For most of the kickoff decade of the 20th century, mode mainly showed seasonal modifications rather than any key changes. However, as the century unfolded, the concept of the 'natural figure' banished the corseted and exaggerated S-shaped effigy that was fashionable at the starting time of the decade. These innovations, a significant liberation for women, were accompanied past the introduction of potent and vibrant colours.

'Originality and Opulence': the Firm of Paquin

In 1890 Jeanne Paquin (1869 - 1936) and her husband Isidore Paquin opened their Maison de Couture Rue de la Paix in Paris, close to the celebrated 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 blackness dresses. The innovative all the same subtle utilise of furs became ane of the house's trademarks. In an age when style advertising was in still in its infancy, Jeanne Paquin was the first couturier to send mannequins to the trend-setting and tendency-spotting races at Longchamp and Chantilly.

In 1900 Jeanne Paquin was elected president of the Manner Department 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 presently bolstered the international reputation of the fashion firm. 1 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 step and many followed her lead. She was the first woman in her field to be awarded the Légion d'Honneur in 1913.

At Jeanne Paquin's decease in 1936, the house passed into the hands of the Castilian couturier Antonio Canovas del Castillo. Paquin bought the Firm of Worth in 1953 but closed its doors on 1 July 1956. The Five&A has a magnificent drove 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 World State of war cemented the move towards more practical, less restrictive clothing. As women were called into factories and offices, fashionable apparel simplified and shortened.

Florrie Westwood

Florrie Westwood (dates unknown) was a London designer active in the early part of the 20th century. Cypher much is known about her autonomously from her drawings, from which we can encounter that she produced elegant high-end, if conservative, fashions. Many hundreds of now-anonymous dressmakers and designers like her existed in towns and cities across the state until the middle of the 20th-century mass-market ready-to-habiliment wearable came to boss fashion.

1) Florrie Westwood, fashion design, London, 1918-9. Museum no. E.1539-1977

i) The 3 'Original Designs' in the epitome from 1918 - 1919 are very typical of the tardily 1910s. They characteristic high waists and feminine materials and colours. They as well conceptualize the androgynous look of the 1920s with their linear, direct silhouettes. The designer's own 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 lucifer the dress.

Heart: A unproblematic evening apron of pulverization blue satin & shell pink tulle. The broad sash is pansy black ribbon with vivid appliqué orange flowers.

Right: Frock of ivory crepe georgette, with two deep bands of peach coloured cocky textile. The insertion is very fine lace.'

2) This fashion analogy portrays three afternoon wearing apparel designs drawn in pencil and colour wash. It is signed and dated past the creative person. Such a drove 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 make their creations increasingly free flowing. This new arroyo focussed on fluidity provided a dissimilarity with the stiff and S-Curve silhouettes of the previous decades.

three) These four dissimilar designs for winter coats by Florrie Westwood are dated 15 January 1919. They emphasise the new fashion for the linear silhouette and ankle length designs. They also evidence the new shape (higher neck covering and greater shoulder coverage) of fur collars and cuffs.

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

two) Florrie Westwood, fashion pattern, London, 1918. Museum no. Eastward.1536-1977

Melanie Vermont

The designs by Melanie Vermont (1897 - 1972) in the V&A collection were given to the museum by Mrs Yard. Goldflame, the niece of the creative person. At that fourth dimension, Mariano Fortuny (1871 - 1949), a Spanish designer based in Venice, invented a new special pleating process and new dyeing techniques for his apparel designs. His innovative designs were inspirational to other designers, but likewise hugely successful as they gave women the freedom of motility they had been craving.

4) These two evening dress designs in pencil past Melanie Vermont in the prototype to the right are good examples of how, at that period of time, designers increasingly used flowing cloth which enabled them to create dresses with elaborate drapes, thereby moving abroad from the restrictive corsets stylish in the previous decade. During the early on years of the 1910s, designers started to promote the apply of lighter and softer fabrics in guild to brand their creations increasingly free flowing. This new approach focussed on fluidity provided a dissimilarity with the strong and South-Bend silhouettes of the previous decades. The tunic in the right hand design is made out of pleated textile.

5) This illustration 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 also became shorter (above the genu) equally shown in these designs. The primal effigy is wearing a light-green coloured solar day dress with a pleated skirt and an elaborate belt which matches her small collar and the sleeve gage. Also shown are two glaze designs. The second figure to the left is wearing a white and red chequer short coat with Alamo buttons whereas the further figure on the right is wearing a white and navy striped glaze with sailor navy collar and matching cuffs.

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

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

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1920s

Developments in fashion following the state of war were greatly influenced by the changing attitudes of women. Younger women were empowered by 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, with uncomplicated, linear dresses that gave them a adolescent silhouette.

Norman Hartnell

6) Norman Hartnell (1901-79), manner design, London, 1920s. Museum no. E.29-1943

London-born Norman Hartnell (1901 - 79) prepare up his style business firm in 1923 and shortly became famous for his lavish and romantic evening and conjugal gowns. Hartnell is credited with introducing the longer-length skirts that would mark the cease of the flapper era and his designs were sought after by the sophisticated British 'aristocracy'.

Very much a 'society' dressmaker, Hartnell is, however, perhaps all-time known for his long-continuing association with the English language Royal family. He designed the dress 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 style.

six) Hartnell designed this wearing apparel with 2 materials in mind: the nether dress is of solid material and is covered from shoulder to hem with chiffon. The dress has a boat neck line with tight sleeves upwards to the elbow where they fan out with 'scollop' edging. This matches the hem of the apparel. Hartnell supplemented the blueprint with a beaded belt with tassels, matched with a ring of beads on the sleeves. The design also shows a big 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

Nix much is known about Hilda Steward apart from her drawings, from which nosotros can see that she produced elegant high-end fashions. Many hundreds of at present-anonymous dressmakers and designers similar her existed in towns and cities across the country until the middle of the 20th century, when mass-marketplace prepare-to-wear clothing came to dominate mode.

vii) This sleeveless evening wearing apparel was designed by Hilda Steward in 1920 appears to be made in satin with a short lace three layer overskirt hanging from the belt. The belt is slightly higher than the waist in the front and supports the overskirt merely from the side to the dorsum - leaving the front completely gratis.

The effigy is wearing a bracelet above the elbow and a large head band typical of the 1920s to hold the new short fashionable hair cut. The designer's signature appears in the bottom correct hand corner in the form of her ii initials overlapped, including the engagement running alongside it in a vertical strip.

8) This is a design for an orange twenty-four hours dress with an overskirt fabricated by two pleated panels. The effigy is holding a fur wrap which looks like Sable; information technology matches some fur details on the dress including those on the hem. The large brim black hat has ii Ostrich feathers.

The belt is to be held by a gold ornament. The designer's signature appears in the bottom correct hand corner in the course of her two initials overlapped, including the date running aslope it in a vertical strip.

eight) Hilda Steward, style pattern, London, 1923. Museum no. E.1039-1988

7) Hilda Steward, fashion design, London, 1920. Museum no. Eastward.1045-1988

Victor Stiebel

Victor Stiebel (1907 - 73) was born in Southward Africa in 1907 but settled in England in 1924. Afterwards working for three years at the House of Reville, he opened his own fashion house in 1932. A founding member of the Incorporated Society of London Manner Designers, Stiebel was appointed its Chairman in 1946. Stiebel was highly successful and his clientele included the leading actresses of the day, but also royalty and members of the aristocracy. He created the going-abroad outfit for Princess Margaret on her marriage to Lord Snowdon in 1960.

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

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

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

x) This is a Stiebel blueprint 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 hit and original in all its details. The inside of the apparel is lined in green - this contrasts the black exterior.

The dress has a square neck line with big shoulder straps. The model is wearing a pearl chocker with matching earrings and bracelet. The short bob hair cut with a fringe was typical of this era. In that location is a slight sketch for a wearing apparel on the mount of this design.

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

10) Victor Stiebel (1907-73), fashion design, England, about 1927. Museum no. Due east.1077-1983

1930s

Post-obit the crash of 1929 and the Cracking Low, new, more down-to-globe attitudes forced on the world offered great scope for a new simplicity, every bit encapsulated past Coco Chanel (1883–1971). In Uk, fashion became more eclectic but also more feminine and svelte and, by 1930, the 'boyish' look had disappeared.

Victor Stiebel

xi) Fashion pattern, 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 university, before working in apparel blueprint at the House of Reville. In 1932 he opened his ain fashion house and was soon 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 past Jerome Kern and Oscar Hammerstein 2 and produced past C B Cochran would have been an excellent advertisement for the immature couturier. He designed all her dresses in the production and those for her co-star, Eve Lister, and all the modern clothes in the Zoo and rehearsal scenes; the rest of the costumes came coming from the Cochran wardrobe and the costume house of Morris Angel & Son.

11) The dress was the height of chic, with its huge pleated shoulders, bold bow, nipped in jacket and long skirt. The gauntlet gloves helped balance the wide shoulders, while the big bow drew attention to the face. Although the design is coloured stake orange, the notes bespeak that it should be made in chartreuse green satin, contrasting with the skirt'southward dull fabric and the exotic fur of the gauntlet gloves. Such designs were meant to flatter the wearer rather than the wearer be subservient to the designer and the leading lady would accept had approval and possibly fifty-fifty a choice in the couturier.

12) The flared lower skirt of this blue dress by Stiebel is an case of the new cut introduced in this decade. The cut is characterised by its simplicity and Stiebel introduced a collar with a bow and tall cuffs all designed with multi-coloured ribbon to interruption the monotony.

These details friction match the slim orange belt. There is an inscription in pencil reading: "I am enclosing bits of ribbon the type I should similar for the collar and cuffs".

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

Similar designs were likewise created by the Surrealist designer Elsa Schiaparelli. Stiebel's halter cervix, sleeveless acme contrasts the large bottom trousers wonderfully. The design includes bright orange gloves, a brim hat and matching shoes.

12) Victor Stiebel (1907-76), way pattern, London, 1934-5. Museum no. Due east.1075-1983

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

Norman Hartnell: fashioning royalty

fourteen) Fashion design, by Norman Hartnell, London, 1936-ix. Museum no. E.37-1943

In 1935 Norman Hartnell received his first Imperial commission and from that moment right up to his death in 1979 he connected to create original designs for the Imperial family unit, important members of British society, as well as international figures. The V&A collections contain a great number of examples of Hartnell'south pre-state of war designs reflecting his highly sophisticated, elegant, and unsurpassed employ of material and embroidery. These two After 6 dresses were designed for H.R.H Princess Elizabeth; both are extremely feminine and delicate.

14) Tonight wearing apparel was designed for H.Thousand. Queen Elizabeth. A pencil inscription 'Gala' at the bottom of the folio suggests that it was designed for an of import occasion. The apparel is entirely covered with an array of coloured sequences and would have undoubtedly bedazzled fellow 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 as well 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 further enriched by elaborate pearl necklace and matching earrings. Across the left shoulder the Queen is also shown wearing a royal sash - supported by a cherry-red and diamond jewel. This dress exemplifies Hartnell's skill in designing dresses with elaborate embroidery.

15) This design is a full-skirted tier dress with infinitesimal waist with tiered yoke forming puff brusk sleeves. The skirt is all threaded with light blue coloured ribbon which emphasises the unlike layers. The dress is worn with matching jewellery and gloves.

The second pattern in pinkish net has a pointed waist ring which holds a total net skirt scattered with pale blue ribbon. The body has a small heart shaped decolté trimmed with the same blueish ribbon and the sleeves are exaggerated short and puff. In improver there is a flower decoration on the left side of her neck.

16) This design for a formal evening dress was peculiarly created for H.K. Queen Mary. The dress falls in a straight line with a slight trail at the back. The elongated v-cervix line is trimmed with lace.

On top of the wearing apparel 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 cervix and a sparkling tiara.

16) Norman Hartnell (1901-79), mode pattern, London, 1930s. Museum no. E.19-1943

15) Norman Hartnell (1901-79), fashion design, London, 1930s. Museum no. Due east.15-1943

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1940s

World War II had a profound issue on mode and information technology became regulated and framed by government decrees. However, despite these strict regulations and the violent upheavals brought about by war, couture design, led by a talented group of dressmakers, flourished.

The New Wait

'I designed clothes for bloom-like women, with rounded shoulders, total feminine busts, and hand-bridge waists above enormous spreading skirts.'

It is with those words that Christian Dior (1905 - 57), described the impact of his first drove in the Spring of 1947. At the time, rationing was withal in place and austere, war machine styles were worn. Dior introduced hourglass silhouettes and luxurious fabrics, softening previously indigestible shoulder pads and cinching the waist for a pronounced feminine expect. So pop was his first collection that it was dubbed 'the New Look' by the press and was instantly emulated by designers across the world.

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

17) This blueprint by Marjorie Field depicts a woman wearing a tailored, printed suit and a large hat decorated with feathers on both sides. A double-row of buttons are sewn onto the waistline of the jacket giving an impression of a small waist. In her right hand, she holds an umbrella fabricated out of the same material as the accommodate. Marjorie Field was a high-finish London designer, who quickly adopted Dior's stylish New Look silhouette into her designs.

18) Italian-born René Gruau (1909 - 2004) moved to Paris in 1924 and started his career equally fashion illustrator in the most 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 Look, soon became an acclaimed figure in the world of Haute Couture. This drawing was commissioned for the fashion mag 'Femina' effectually 1949.

nineteen) This is a design by Bernard Blossac (1917 - 2001). Blossac was a fashion illustrator, who regularly drew for Faddy, L'Officiel and Harper'due south Bazaar. This drawing depicts a black bolero with a floral pattern in the 'New Look' style.

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

19) Bernard Blossac (1917-2001), fashion illustration, Paris or London, belatedly 1940s. Museum no. Due east.167-1987

Marjorie Field

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

The V&A has a substantial collection of loftier quality designs by Marjorie Field for the couture firm Field Rhoades. The provenance of these designs can be traced dorsum to Gwen Mandley, an artist and friend of the designer. Field Rhoades was registered in the London street directories at 77, South Audley Street, London W1 for the years 1948–49; this corresponds to the date of the designs constitute in this collection. Marjorie Field also designed under the name, or for the house, 'Matita'. Matita were a loftier-end ready-to-wear company who regularly advertised in Vogue during the 1940s.

twenty) Fashion pattern, past Ursula Sternberg-Hertz, London, about 1947. Museum no. E.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 competition entry to the Ascher textile firm in London, who were renowned for working with fine artists to create patterns and designs for silk scarves and article of furniture fabric. She won 3rd prize but worked for the Ascher Studio for a yr and for many years equally a gratuitous-lance designer.

twenty) This painted sketch of a fashionably dressed female person figure decorates the front board of Ursula Sternberg Hertz's folder of designs for textiles and dress, oiginally submitted to Ascher as part of an entry competition. This bold 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 green velvet ribbon.

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1950s

Often associated with the rise of youthful, ready-to-wear fashions, the fifties were nevertheless a prolific and successful decade for the way 'establishment' as embodied past couture houses and traditional dressmakers. Fashion illustration continued to flourish in the plethora of magazines published at the time.

Sigrid Hunt

Sigrid Hunt (subsequently 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 late 1950s to 1971 she worked in Germany for the Sudkurrier Welt der Frau and Die Mode.

The diverse preparatory phases shown for the Tatler forepart encompass of five May 1954 here illustrated are a adept example of the process and various stages of magazine illustration.

Sigrid Hunt, pencil sketch, Britain, 1954. Museum no. E.687-1986

Front end cover of Tatler, featuring design by Sigrid Hunt, 5 May 1954. Museum no. E.684-1986

Sigrid Hunt, colour design, Britain, 1954. Museum no. Eastward.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 as these fitted better with the luxurious and feminine ideal of couture than photography. These illustrations, peculiarly from the Stiebel collection of 1953, display some of those shared aesthetics in the fashion they convey the soft, tactile nature of the fabrics.

However, the privileged condition of fashion drawing faded rapidly during the 1950s, and photography presently gained more than prominence in postal service-war magazines that wanted harder-striking imagery.

21) This image was drawn for Harper's Bazaar around 1955. It shows a glamorous evening clothes past Christian Dior (1905–57), featuring a total skirt and elaborate hurry bow.

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

21) Jean Demarchy, way analogy, Paris or London, about 1955. Museum no. E.685-1997

22) Jean Demarchy, style analogy, London, 1953. Museum no. E.686-1997

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1960s

Before the late 1950s and 1960s, teenagers were expected to dress and comport very much as their parents. The 'Swinging Sixties', however, saw the emergence of a new youth market equally teenagers rebelled against the aesthetics and values of their parents' generation and established their own trends in way and music.

Amid other things, the miniskirt was introduced, and couture was seen as very erstwhile-fashioned. London - non Paris - was leading fashion now, nurtured by the metropolis'due south mode schools and colleges, who were providing artistic environments for crops of young, talented designers.

Mary Quant

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

The daughter of Welsh school teachers, Mary Quant (born 1934) gained a diploma in Art Education from Goldsmith'south College, London. There she met Alexander Plunket Greenish, who later on became her business concern partner and husband. Apprenticed to a milliner, Quant began to make her ain apparel. These were influenced past the Chelsea beatniks she knew and trip the light fantastic outfits she remembered from childhood lessons.

In 1955, at a time when 'fashion wasn't designed for young people', Quant opened Bazaar, a boutique on the King's Road. She devised middle-catching window displays to concenter customers. Her clothes were made up of simple shapes combined with strong colours like blood-red, clip 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 past the chain shop J.C. Penney to exist mass produced for the American market. The Quant label began to appear worldwide on accessories and brand-upwardly.

23) This design has a liberty bodice, long narrow sleeves and a front vertical nothing. The skirt is very short and trimmed on the edge with a xanthous colour. The same colour tights are worn. At that place is a small baby neckband and a very narrow chugalug with a front buckle. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and continued for quite a while later on this.

24) This bold design for a putty aubergine mini apparel is made with a small freedom bodice with a total mini skirt attached to it. The top of the dress has a cow neck in yellow cloth within and on the outside is biscuit with yellowish.

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

25) In this design Mary Quant decided to ignore the waist and added a very short frill skirt attached to the body of the apparel creating the 'mini' outcome. The sleeves are very curt and bounded by slippery child ruby-red leather. The main dress is made out of pinkish Bailiwick of jersey wool.

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

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

25) Mary Quant (b.1934), fashion design, London, mid 1960s. Museum no. E.523-1975

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1970s

The 1970s were a pioneering decade, and saw the evolution of fashion into a announcement of individuality. Seen as the reflection of the taste of the wearer, 1 of the consequences of these sartorial changes, was that fashion increasingly, became the concern of men equally well equally women.

'Manly Sweater' fashion pattern, by Patrick Caulfield for Ritva, London, 1972. Museum no. Eastward.413-2005

Ritva and Patrick Caulfield

The Ritva knitwear firm was set past 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 fashionable department stores and King's Road boutiques, and from 1972, in the Ross's own shop.

A new direction in men'due south knitwear came in 1969 when Mike Ross designed a line of appliquéd 'Ritva Man's' sweaters inspired by baseball shirts (the Five&A collection includes a epitome, 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 'wearable works of art'.

Creative person Patrick Caulfield's (1936-2005) 'Manly Sweater', with its appliquéd leather patches and 'trompe 50'oeil' pipage, is an ironic version of traditional 1950s masculinity. The V&A has also caused Caulfield'southward original drawings for the sweater and seen together these represent an unusual certificate of a collaboration between art and fashion.

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

Patrick Caulfield (1936-2005) for Ritva, 'Manly Sweater' fashion design, London, 1972. Museum no. Eastward.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) ofttimes incorporated metal, plastic and transparent fabrics in his creations. He is maybe all-time remembered as the designer of Diana Rigg'southward wardrobe for the idiot box series The Avengers in 1965.

26) This 1978 dress in silk is an interesting pattern with square shoulders and blouson body and an intricate cut full skirt. There is a tie belt around the waist and the sleeves have flare cuffs like to the high neckband.

27) This 1974 pattern is for a long printed Kaftan with an undulated bottom. The sides are finished with tassels. The print is particularly beautiful and private you can see the item of stylised flowers and birds. This is complemented by edge stitching around the Kaftan. The exotic element to this pattern makes it particularly striking.

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

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

Zandra Rhodes

A graduate of the Purple Higher of Art, Zandra Rhodes (b.1940) became famous for her prints on chiffon, and her use of flamboyant, brilliant colours. Her designs were considered as well extravagant by British manufacturers and she prepare her own retail outlet on Fulham Road, London, in 1969. Rhodes' extravagant appearance and style frequently attracted considerable publicity. She is credited with having introduced Punk fashions to the way industry with her 1977 collection entitled Punk Chic.

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

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

Bill Gibb

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

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

28) This is a style design for a long pleated skirt, long-sleeved blouse, laced jerkin and cloche hat, with two fabric samples attached. This design featured in Vogue in 1970, and the Sunday Times amongst other magazines. This design shows how unlike wool fabrics are used with contrast colour and blueprint.

29) Jacket pattern with beret.

30) This is a design for a printed leather and suede blueprint jacket with a hood. The Patterns seem influenced by ethnic designs. Other designs in the later on 70s started to apply a mixture of different fabrics and colour, for case leather with chiffon) This design is a adept example of how leather was candy in a more than fashionable and colourful fashion during this menses.

29) Bill Gibb (1943-88), style design, London, 1976. Museum no. Eastward.127-1978

thirty) Bill Gibb (1943-88), way design, London, 1976. Museum no. Due east.128-1978.

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1980s

The increasing contour of women in the work place required a new way aesthetic, and the decade witnessed the emergence of 'Power Dressing'. Wide, padded shoulders became fashionable and women'southward wearing apparel were inspired by masculine mode and tailoring traditions. The flow 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 also had a lucrative ready-to-wear and licensing business concern with a wide range of branded accessories and cosmetics.

Fashion design, by Oleg Cassini, United States, 1988. Museum no. E.25-2000

Fashion design, by Oleg Cassini, Usa, 1988. Museum no. East.24-2000

Nib Gibb

Bill Gibb (1943–88) was a manner designer whose creations defined the 1970s look. He opened his boutique Alice Paul in Kensington in 1967 and first designed for the youth market, with clean lines that bore the imprint of contemporary trends. In the 1970s, his way developed along 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 full drove in 1985.

The drawing below right shows a blueprint for the pop star Lynsey de Paul, for her operation at the Imperial Diverseness Show, 1986. It is executed in color wash, blackness ink and felt tip pen. By this time, Gibb's business was failing and this design may be one of his terminal.

Fashion design, past Nib Gibb, London, 1986. Museum no. E.522-1993

Costume design, past Bill Gibb, London, 1986. Museum no. E.523-1993

Antoni & Alison

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

Antoni & Alison, mode design, London, late 1980s. Museum no. E.679.2-1997

Antoni & Alison, fashion design, London, late 1980s. Museum no. Eastward.680.2-1997

Antoni & Alison, style design, London, belatedly 1980s. Museum no. Due east.679.2-1997

Manolo Blahnik

Manolo Blahnik (b. 1942) is one of the nigh prominent and successful shoe designers of his historic period. His creations were famously immortalised in episodes of Sex activity and the City, and his name is now synonymous with luxurious and exquisitely designed shoes. He was awarded an honorary championship of Commander of the British Empire in the Queen's 2007 Birthday Honours List, for services to the British fashion industry.

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. Eastward.1331-1979

Manolo Blahnik (b.1942), design for a shoe, U.k., 1980. Museum no. Eastward.1332-1979

Source: http://www.vam.ac.uk/content/articles/f/fashion-drawing-in-the-20th-century/

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