Long Party Wear Dresses – Creating 1940S Fashion For You

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Blouses were the next part of a suit.

They usually buttoned down all the way and had a small v neck or round peter pan collar neck opening.

Then the could also be worn plain or with a light cardigan sweater over it. Learn more about and shop 1940s blouses. Blouses were either solid color or a fun striped pattern. They may be short sleeved like dresses, or long sleeved with puffy gathers and tight wide cuffs at the wrist. Ok, and now one of the most important parts. Did you know that the bolero jacket was a nice, short, rounded edge jacket that was worn over a blouse. So as a result the suit jacket pped the outfit. However, jackets were of very similar materiel as the skirt but may be mismatched if that’s all you had. They rarely buttoned in ‘front preferring’ to hang open and show off the blouse. Sleeves were always long and narrow. They had identical padded, wide shoulder, high neckline and nipped in waist with only a slight flair at the bottom. Jackets were button down and featured loads of lapel width, points, and shapes. Lower edge of the jacket came to mid hip length.

It wasn’t necessary to wear a blouse under a suit jacket but was often more comfortable.

Bobby socks with saddle shoes are an icon of the 1950’s but were really started in the 1940′ During the war women wore patriotic colored socks instead of nylons, even with heels.

Socks were popular with working women and teenagers. Anything else you need it’s a good idea to ask. All other pics about the 40’s are here. Fact, there is an article on fabrics. These must help you with your research. That still remains my favorite memories of high school. I love the 40’s, the clothes, the music, the movies.

I especially love the men’s suits and ties.

Wish I could find some vintage suits.

When given the opportunity to play in Stage Band, in high school I jumped on it since they played loads of the big band tunes. My mom was a classy dresser and I always looked through family albums to see how they dressed. A well-known fact that is. I was born in 53, therefore I didn’t live it. That said, for the most part there’re endless possibilities using new, thriftedor vintage clothes to recreate a style for a 1940s themed event like a swing dance, WW2 remembrance day, or pinup photoshoot. Did you know that the following infographic could be helpful to in in creating a vintage inspired 1940s style for yourself.

Be sure to look at these 16 different 1940s costumes to should draw a line down the back of her before stepping out in public, My mom was telling me when she was in her early 20’s when WWI was going on there was a shortage of stockings, and what she use to do to make like she was wearing stockings.

Whenever rolling the sides planning to the back of the head in a v shape for victory, when the war was over in May 1945, the women should style their hair. All dress p designsrevealed very little skin, compared to today’s fashion. Learn about common 1940s dress styles.

They could have been square, slit, sweetheart, keyhole, shirred, cross front, or V with shirtwaist tops.

The neckline of the 1940’s came in a lot of cut outs.

There was no cleavage! Dresses in the 1940s becameshorter, with the start of the war and a strict rationing on fabric. Accordingly the war also affected the p of the dress. Whereas the 1930s featured dresses down to mid calf, the 1940s brought them up to knee length. So, skirts were long and full in the early 40’s and sleekby the end of the decade. Evening dresses were the exception. They have been spaghetti strapped or halter pped that revealed shoulders and chests but only mild cleavage. Catalogs and department stores now carried Stout size clothing lines with dresses, tops, coats and shoes in designs that were more flattering to the fuller figure. Beauty tips and fashion advice books were full of Do’s and Don’ts for dressing a woman’s best.

Most Fabulous Dresses You Didn’T See – From One Incredible Dress To Another

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Whenever choosing pretty simple and skintight metallic Calvin Klein Collection gown that’s practically as stunning as her first Oscars dress, she got home the gold, goes for the silver at Vanity Fair ‘afterparty’.

Naomi slips into a dazzling ‘black and gold’ ‘one shoulder’ Emilio Pucci gown with Neil Lane jewels for the Vanity Fair bash, right after donning a ‘jaw dropping’ rmani look at show. From one incredible dress to another.

Another star who’s loving the blackandwhite trend, Nina hits the Elton John Academy Awards bash in a bold printed Naeem Khan gown, Swarovski envelope clutch, Chopard jewels and a fun ponytail. Amanda revealed that this redish Givenchy dress was so intricate that when she first tried it, she required to assistance get it on! So, since the Les Mis star stands out in the strappy number at Vanity Fair fete, We’d say it was worth all the effort.

No, she didn’t chop off her hair.

She wears look with stacks of bracelets to Elton John AIDS Foundation viewing party in West Hollywood. The newest Girl star fakes a bob to go with her elegant beige beaded Valentino gown and Dana Rebecca Designs jewelry, worn to Vanity Fair party. Bare back, with pearl and crystal accented straps, was a totally exclusive story. Virtually, from the front, pure whitish Azzaro gown is all subtle simplicity.

Our favorite fashion plate wears something totally fresh and unexpected to the Vanity Fair celebration. Proving her sartorial skills extend beyond street style, model arrives at Vanity Fair party in a longsleeve sheer grey Valentino gown with a plunging neckline and sparkly embellishments, plus glam ‘sideswept’ waves and a Jimmy Choo clutch. Of course, diane shows off her legs in a blackandwhite printed long sleeve Giambattista Valli mini that’s virtually as voluminous as Melissa McCarthy’s hair, and coordinating Christian Louboutin pumps.

Junior Hollywood goes rather old Hollywood.

Elegant in an ivory empire waist Dior gown with a feminine bow accented detail, the spices things up a bit with a remarkable top handle clutch, )alsoso by Dior, and bright light green earrings at Vanity Fair bash. At Vanity Fair event, big School Musical and former look all grown up in dramatic party gowns and plenty of jewelry, including Vanessa’s Gaydamak cuff, at the Vanity Fair event.

Partying down with Vanity Fair has been British actress, who poses pretty in a ‘spiderwebesque’ beaded Monique Lhuillier gown, plus Chopard jewels, a Roger Vivier box clutch and her signature perky pony. They decide on totally special looks at Elton John event, in a ‘tealength’, highneck Brian Rennie for Basler and her expectant in a supersexy almost white jersey Donna Karan gown with a beaded neckline and matching fur. The actual question is. Are we sure these 3 were meant to attend similar party?

Afterparties were all about lofty drama beauty, Oscars may are all about understated makeup.

Case in point. Ginnifer, who attends Vanity Fair get together sporting vibrant metallic blue eye shadow to complement her cerulean ‘fit and flare’ Monique Lhuillier dress. A well-reputed fact that is usually. This woman loves her embellished floral necklines!

Bright orange isn’t a plain simple color to pull off -though you wouldn’t see it by looking at the Hunger Games star, who always was radiant in her strapless Alexander McQueen gown with gold accents, Dior Fine Jewelry and a funky braided updo at Vanity Fair’s party. Bright orange isn’t a plain easy color to pull off -though you wouldn’t understand it by looking at Hunger Games star, who is usually radiant in her strapless Alexander McQueen gown with gold accents, Dior Fine Jewelry and a funky braided updo at Vanity Fair’s party.

That Said If I Were Going To Change Dresses – Long Party Wear Dresses

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a bunch of people have asked if I’ll be changing into a second dress for our reception, since finding my wedding dress.

It’s beautiful quality for a cocktail dress but so festive and fun that it calls for a special celebration like a wedding, graduation party, or even New Year’s Eve. Of course, that said, if I were going to change dresses,this ostrich feather dress from Sail To Sable would be a p contender. So here is the question. Did you / will you change dresses for your wedding reception?

That ostrich feather dress is very much fun! BHLDN for that, then back into my gown for most of the reception.

Especially if my father paid for it!

Plus I was absolutely obsessed with my wedding dress and wanted to soak up every minute of wearing it. I was having much fun leaving thought the party just to change seemed ridiculous, when the big day actually came. I’m sure you heard about this. Are you going to have a rehearsal dinner? Maybe that could’ve been an opportunity if you’re unsure but want to enjoy this dress! This is SUPER cute.

That said, I know some brides can tired of wearing the dress or it gets super in the way and they want to change. Plus I can always ‘re wear’ with a colored skirt over in the future I won’t be changing my dress as our ceremony is also in the late afternoon and I want to wear my dress for as long as possible! Toronto party and either the rehearsal dinner or the reception/exit and after party at the very least. It is ranata dress from BHLDN and am planning to ‘re wear’ it for the cocktail party my in laws want to have in Toronto after the wedding. Although, I’ll be changing my shoes for the reception, if anything.

That’s sooo gorgeous though!

Did you / will you change dresses for your wedding reception? That said, if I were going to change dresses,this ostrich feather dress from Sail To Sable would be a p contender. It’s beautiful quality for a cocktail dress but so festive and fun that it calls for a special celebration like a wedding, graduation party, or even New Year’s Eve. Of course a bunch of people have asked if I’ll be changing into a second dress for our reception, since finding my wedding dress.

BHLDN for that, then back into my gown for most of the reception.

That ostrich feather dress is very much fun!

I was having much fun leaving thought the party just to change seemed ridiculous, when the big day actually came. Yet, as fashions become increasingly casual, the perfect party dress is like a secret weapon turning anyone into a rose among daisies. So, now that the jeans and T shirts plague has reached our fancy restaurants, cocktail parties, and nightclubs, it seems as though nobody cares about dressing up anymore. Generally, plus I was absolutely obsessed with my wedding dress and wanted to soak up every minute of wearing it.

You can find chic, well made frocks, and afford them, too, since vintage is in vogue.

On the blog, it’s for the general public, in my job I get to share it with students. WayneGuite, and making fashion history available to everyone. In 2012, WayneGuitealso launched her blog, The Hourglass Files, to catalog her favorite styles, designers, exhibitions, and other forgotten tidbits of couturiers past. Retro looks are regularly featured on the redish carpet, with celebrities plucking gowns from past designer collections or straight from vintage racks stores. Just think for a moment. While decadedefining looks, with so many classic dresses to choose from, what are the most stunning. Butthere’s not plenty of reputable information out there. People connect with fashion history because clothes are very tangible everyone wears them. It’s a perfect question for Jacqueline WayneGuite, a writer, researcher, and fashion archivist who’s worked with institutions across the and currently manages the garment collection at Columbia College Chicago. Vintage isn’t just for commoners.

Just in time for the Oscars, WayneGuite helped us compile a gorgeous, ‘decade by decade’ guide to the best party 20th dresses century, looks as show stopping day as when they first hit the scene. More than a hundred years ago, you wouldn’t have had enough clothing to designate certain dresses for special occasions. With more ‘ready made’ clothing, fashion production became easier and cheaper. You could now have specialized clothing for different occasions, including parties. Middle class women could consume, the economy was great. Moving into the 1910s and ’20s, we started to see major upward mobility.

The garment literal foundation is of much lower quality, not only are the rhinestones and fabrics cheaper today.

As long as there was still this notion that the foundation had to be good, they all have ‘builtin’ boning, the collection I currently work with has some cheap 1950s dresses, things you would’ve bought at an inexpensive department store. Via shorpy. Now pay attention please. Socialite Betsy von Furstenberg and friends getting dressed in a Look magazine article from When the strapless dress first became popular, its structural foundation was much stronger compared to modern dresses of stretch fabric. You don’t see corsetry built into a dress anymore, unless you’re buying expensive formalwear.

Instead of better tailoring or putting in boning or a petersham, Nowadays, designers make up a lot through stretch fabrics, which was like a waistband that was put inside a dress to attach the bodice to your waist. These dresses hug the breasts, and that’s not a very good foundation for a garment. While meaning they weren’t being held up at the bust it was the woman’s waist and her hips that held up the dress, most strapless dresses in the 1950s were boned and had petershams. They fal off, you have these beautiful dresses that the bride and bridesmaids are constantly hiking up because they’re attached with cheap stretch fabric. Of course your foundation would be much lower, and there was no need to hike up the dress.

The party dress is definitely more casual now, and there’s a much wider various silhouettes and styles. It’s not a big deal when only the people at that event see your dress. Most ‘middle class’ women would have had one good dress to wear for evening, parties, weddings, or other formal occasions. People wouldn’t even know you wore the same dress repeatedly, you didn’t have as many parties to go to. You weren’t going to be photographed and have your pictures spread around. Also, if you were wealthy enough to have a party dress, one hundred years ago, you didn’t own a huge variety. Because it didn’t matter if you wore the same dress, you didn’t have dresses for different occasions.

Left, Poiret’s famous lampshade dress circa Via the vam.

We have a robe in the Columbia collection that has Japanese kimono style sleeves, Chinese style metallic embroidery, and colors that look Indian influenced. Right, a ‘Asianinspired’ robe is worn over a slimmer skirt in this outfit by Madeleine Laferriere from Via. Styles from different Eastern countries were often melded into one garment. She’s seeing those looks in magazines, and then copying them herself. It’s not that the ‘middle class’ woman in America was buying Poiret. Just think for a moment. This all has a ‘trickledown’ effect. It is there wasn’t a whole lot of purity in fashion it was an amalgamation of all these cultures rolled into one garment.

Some were less shapely and more sack like, and then others had a lampshade look with a hoop around the hip area.

They generally went just past the hip, or fell somewhere between the knee and hip, and flared out around the hoop. The lampshade silhouette was pretty avantgarde. Ok, and now one of the most important parts. We had a lampshade style dress, when I worked with the collection at North Dakota State University. Clearly this was widespread, she lived in orth Dakota, its owner might been upper class.

They always have to slim them down because the dresses were quite dumpy by today’s standards, when costume designers create garments for movies set in the ’20s. Women were going places unchaperoned and were just more physically mobile. They wanted to look streamlined, They didn’t want to look super feminine. So, you can’t have those long gowns constricting your legs, in a car, you could drive yourself. In the 21st century, we want to see a bit body more, and designers weren’t really showing much of it because women didn’t want to look womanly. Normally, the dresses were these boxy, boyish shapes, and to our contemporary eye, that doesn’t look very chic. They’re climbing in and out of cars more, and so they need a shorter skirt to get in and out unescorted. There’s a gentleman or driver to help you, when you’re getting into a horse and buggy.

It was also amid the first times women were moving more than just their feet when they danced.

Alice Joyce. They were moving their whole bodies. They’re moving their hips, They’re moving their legs. Party 1920s dresses were made for movement, like the designs at left from the National Suit Cloak Co, with their dropped waists and unstructured tops. You need a shorter skirt to do those moves and also to show off your body while doing them. Basically, via wikipedia. They wanted to show off that movement.

It’s funny because the fabrics for party dresses in the 1920s were typically really fine, thin silk chiffons, or weighted silk satins.

They literally used to soak the satin in metallic solution, which would add weight to the garment and give this thin silk satin a more luxurious drape and movement. Nonetheless, they’re quite modest, They’re still party dresses. Now let me tell you something. It’s going to deteriorate really quickly, plus they were covering these extremely fragile fabrics with heavy beads, when you soak fabric in metallic solution. Let me tell you something. With stylish, some were completely covered in beads, from shoulder to hem, Art Deco designs in the beading.

Not most of them exist anymore, at least the dresses that were wellworn. While creating an even more stimulating effect when she was dancing, when the garment went into motion, the entire dress was activated. Notice, they would fall apart. Make sure you drop a few comments about it in the comment form. Publicity stills taken of Norma Shearer (left, in and Jean Harlow (right, in flaunt their sultry, ‘biascut’ silk dresses. Photographer George Hurrell captured Old glamour Hollywood styles, which amped up the sex appeal using halter ps and lowcut backs.

You turn the pattern on a diagonal and lay it on to the fabric, with the bias cut.

They’re now diagonally on the body, The lengthwise and crosswise grain are not horizontal or vertical on the body. Via metmuseum. Left, this 1930s advertisement shows the diagonal seams and limited ornamentation of popular biascut dresses. That is interesting. Right, this Vionnet gown shows how lowcut backs contrasted with excessively low hemlines, even in the ‘Depressionera’ when extra fabric was a true luxury. When you refer to the Old Hollywood look, generally most people are 1930s thinking, and it’s these idea silk satins or velvets that cling to the body. We go from the boxy, boyish shape of the ‘20s to a very womanly shape. Just keep reading. It hugs your curves, since there’s more stretch on the bias. Certainly, it hugs the body more closely because That changes a garment fit.

The French designer Madeleine Vionnet is the most credited with mastering the bias cut.

It’s this culture of escapism. You would think they’d use less fabric, yet the bias cut actually uses more fabric, since we were in the Depression. You should take this seriously. Hollywood movies in the 1930s are all about escaping the economy troubles and everyday life. Since they wanted that freedom once in a while, they cut back a whole heck of a lot more on everyday dresses and splurged a bit more on their party dress. There’s a lot more information about it on this site. They really wanted to live it up, when people went to a party. During the daytime, everyone had to be very utilitarian.

Evening attire needed to be glamorous, in contrast, you also had this patriotic duty to be beautiful for the soldiers. You needed to wow the boys. For practical purposes, amongst the things they were rationing during the war was heat, by turning the temperature down to cut back on energy use, women needed sleeves. Now regarding the aforementioned fact. It’s among the only periods that you see sleeves on dresses. Evening attire that tried to make women look beautiful and feminine, it was this duality of a masculine style for day and for work. There were restrictions on how much fabric you could buy or how much fabric might be in a particular dress, though there are loads of examples of Hollywood and highend designers completely flouting those rules. Your party dress needed to be a showstopper.

Despite the fact that it used a lot more material than a set in sleeve would, the dolman sleeve was very popular. There were no restrictions on embellishments like sequins, or spangles as they would’ve called them, or elaborate, ‘rhinestonecovered’ buttons. Also, many garments were decorated in buttons, sequins, or anything people could get their hands on to embellish a party dress. Of course there’s excess fabric under the arm, It’s all one piece. For the most part, they were cutting back on fabric, that definitely flouted the law. It’s similar to a loose, ‘kimono style’ sleeve with no seam between the bodice and the sleeve.

That style dominated throughout the 1950s, especially for the middleclass woman in America.

Like this set from Right, Left, pattern makers like McCall’s and ogue made the New Look available to middle American women, teenage girls at a ‘highschool’ dance in monochromatic, ‘multitextured’ dresses, circa Via shorpy. The New Look worked its way down to her, she was buying that trickledown fashion, she was not buying Dior. Consequently, it’s really the first time we see Middle America wearing these cute, strapless, promstyle dresses. That was a popular party dress style, a strapless dress with a very full skirt and a tiny waist.

You definitely see them in the ’50s, mostly small florals, novelty prints got started in the 1940s. It’s always small and feminine and pretty. They wanted to have some kind of visual variety. It would probably have some netting, lace, silk satin, or rayon on it, if the dress was one color. Nevertheless, left, Twiggy wears a pink felt shift dress on Seventeen cover magazine in Right, Yves Saint Laurent’s Mondrian dress embodies the quintessential mod look, circa Via metmuseum. It’s not anything loud. It wasn’t just one fabric and one color.

The 1960s were like Heck no!

We’re going to focus on day youth. Also, it was the first time you had skirts above the knee. Just think for a moment. You also had a more streamlined effect as mod influenced fashion in all areas. That’s where it starts getting really intriguing, right? They were pretty boxy. It went straight from the shoulder to the hem, or had a ‘Aline’ effect, it didn’t necessarily hug the bust. Young women wanted to wear short skirts. That pop art period and the music people listened to were all converging and influencing fashion, and fashion was also influencing them. Furthermore, we’re tired of these used up, ‘old fashioned’ ideas. You had artists like Andy Warhol, and his muses were wearing very mod styles. You should take it into account. Your party dress was probably a basic, Aline shift dress that hung its weight from the upper body. You should take it into account. They were wearing mod suits, the Beatles weren’t wearing party dresses.

The 1960s are interesting because you start to see a speeding up of trends. They’re huge, and there are loads of them. Designers incorporated these mocknecklaces that were actually sewn onto the dress around the collar or the neckline. By the end ’60s, mod was almost dead, and fashion had moved onto this very chunky embellishment, especially for party dresses. You’d have this big, chunky, embellished cuff on your dress, instead of wearing a bracelet. We recently had an oneshoulder dress from the ’80s donated to the Columbia collection, and the shoulder with a strap has these giant fabric flowers. That’s where it starts getting interesting, right? It’s really cool that they were bringing very much attention to that one shoulder with all this fabric, It’s a little jarring to the eye today. Women wanted heavier, more bohemian embellishments on their dresses, instead of streamlined.

Left, this Yves Saint Laurent ensemble from 1980 raised the bar for bold shoulder detailing.

In the 1970s, the colors were really muted and muddy, these earthy rusts and oranges and greens. It’s that fashion idea cycle, that we want to see what we haven’t seen in a long time. Via metmuseum. Actually, we turned to super bright and neon colors, in the ’80s, people wanted something fresh and different. With all that said. Right, Iman models for YSL’s Rive Gauche line in 1980, which incorporated bright colors and excess fabric just beneath the shoulder line. Of course, as Lycras and spandexes were entering the market in larger numbers, you also had lots of fabrics with more stretch to them so tight party dresses were really popular.

I lived through much of what was represented here, as a Boomer born in 1951. Very good interview questions! I lived through much of what was represented here, as a Boomer born in 1951. Very good interview questions! The organization by decade is a great presentation of the times fashions. Oftentimes the organization by decade is a great presentation of the times fashions. Follow us onTwitter.