the history of fashion presentation

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1905 – André Derain, Lucien Gilbert

1869 – red silk dress, katazome (stencil printing), 1995 – lee, sense and sensibility, the fez and the ottoman path to modernity.

• artwork analysis
• garment analysis
• film analysis

1906 – John White Alexander, Study in Black and Green

1900-1909 , 20th century , artwork analysis

Alexander replicated this same evening gown in paintings over a six-year period as it slowly progressed from fashionable to outdated.

1787 – Adélaïde Labille-Guiard, Madame Adélaïde

1770-1779 , 18th century , artwork analysis

1801 – Marie Denise Villers, Young Woman Drawing

1800-1809 , 19th century , artwork analysis

1876 – James Tissot, Summer

1870-1879 , 19th century , artwork analysis

1977 – Vivienne Westwood/Malcom McLaren/Jamie Reid, “God Save the Queen” T- shirt

1970-1979 , 20th century , garment analysis

Vivienne Westwood and Malcolm McLaren's “God Save the Queen” T-shirt is a white, long-sleeve shirt with distressed elements and a bold graphic by Jamie Reid featuring lyrics to the Sex Pistols song. It has become an iconic representation of early British Punk style.

1855 – English Blue and White Print Day Dress

1850-1859 , 19th century , garment analysis

1948 – Christian Dior, Eugénie evening gown

1940-1949 , 20th century , garment analysis

1880s – Amédée François, Blue Silk Day Dress

1880-1889 , 19th century , garment analysis

1800-1809 , 19th century , film analysis

The film Sense and Sensibility is based on a novel of the same name by Jane Austen, originally published in 1811. The adapted screenplay was written by Emma Thompson, who also plays one of the lead characters, Elinor Dashwood, whose costumes are the focus of this study.

1997 – Besson, The Fifth Element

1990-1999 , 20th century , film analysis

1939 – Cukor, The Women / 1956 – Miller, The Opposite Sex

1930-1939 , 1950-1959 , film analysis

1941 – Wyler, The Little Foxes

1900-1909 , 1940-1949 , film analysis

• designer profile
• thematic essays
• year overview

1922-1985 – Rudi Gernreich

20th century , designer profile , LGBTQ+

About the Designer Rudi Gernreich was an avant-garde designer whose works questioned the status quo of the fashion industry and often reflected his own political...

1927-2001 – Maija Isola

1950-1959 , 1960-1969 , 20th century , designer profile

1948-1987 – Willi Smith

1970-1979 , 1980-1989 , BIPOC , designer profile , LGBTQ+

1818-1907 – Elizabeth Keckley

1860-1869 , 19th century , BIPOC , designer profile

Inès Gâches-Sarraute and the Straight-Front Corset

1890-1899 , 1900-1909 , 1910-1919 , 19th century , 20th century , thematic essays

Often anachronistically called the ‘S-bend,’ the dramatic straight-front corset of the early 1900s was invented by a doctor for health purposes and quickly swept up into the tides of fashion.

Norell: Flappers Back In Fashion

1920-1929 , 1960-1969 , 20th century , LGBTQ+ , thematic essays

Beetle-Wing Embroidery in Nineteenth-Century Fashion

18th century , 19th century , 20th century , Asia , thematic essays

Treasures of Sitio Conte and Personal Adornment of the Coclé

Americas , ancient , thematic essays

1980-1989 , 20th century , year overview

1983 featured a flashback to the 1940s with menswear influences like strong shoulder pads and oversized coats. The overall look of the year is accentuated by the power belt that minimizes the waist and emphasizes the hips. In summary, volume fashion was a hit.

1880-1889 , 19th century , year overview

1860-1869 , 19th century , year overview

We Were There: Harlie Des Roches on the Black Presence in Renaissance Europe

Hymn to apollo: the ancient world and the ballets russes, frida kahlo: appearances can be deceiving, grand opening of the museum of historical costume in poznan, poland.

• Middle Ages
• 14th century
• 15th century
• 16th century
• 17th century

Americas , ancient , term definition , X

A xicolli is a sleeveless, sewn vest usually embellished with fringe that comes in various lengths worn by priests and high rank warriors in ancient Mesoamerican cultures.

eye of Horus

Africa , ancient , E , H , term definition

Africa , ancient , F , term definition

14th century , 15th century , 16th century , 17th century , 18th century , 19th century , Americas , ancient , T , term definition

huipilli/huipil

17th century , 18th century , 19th century , Americas , ancient , H , term definition

clavus/clavi

ancient , C , term definition

Asia , Byzantine , culture overview

Clothing during the Byzantine era was strictly regulated based on identity, status, rank, and gender. Visual and literary sources from the period provide a glimpse to Byzantine court and upper-class dress. 

12th century – Norman Mosaics

artwork analysis , Byzantine , Middle Ages

545-549 CE – Imperial Mosaics of the Basilica of San Vitale

1300-1349 , 1350-1399 , 14th century , 15th century , B , Middle Ages , term definition

1964 – Glenville, Becket

1960-1969 , film analysis , Middle Ages

Byzantine , T , term definition

14th century , 15th century , 16th century , 17th century , 18th century , 19th century , 20th century , 21st century , Asia , B , term definition

An outer garment worn by Muslim women that covers the entire body, often with a cutout or mesh at the eyes.

14th century , 15th century , 16th century , 17th century , 18th century , 19th century , Asia , C , K , term definition

cochineal dyes

14th century , 15th century , 16th century , 17th century , 18th century , Americas , C , term definition

14th century , 15th century , 16th century , Africa , Americas , L , term definition

1410-1419 , 1420-1429 , 1430-1439 , 14th century , 15th century , P , term definition

1350-1399 , 1400-1409 , 14th century , 15th century , P , term definition

1490-1499 , 15th century , decade overview

The 1490s was an influential decade that set the groundwork for the following years to come in terms of predominant trends and silhouette. At the same time, regional influence held strong both in Italy and Spain. 

1480-1489 , 15th century , decade overview

1470-1479 , 15th century , decade overview

1460-1469 , 15th century , decade overview

1450-1459 , 15th century , decade overview

1440-1449 , 15th century , decade overview

The Virgin as a Fashion Icon: How the Virgin of Guadalupe Shapes Latinx Identity

16th century , 21st century , Americas , BIPOC , thematic essays

The image of the Virgin of Guadalupe is one that is intertwined with Latinx heritage and her identifiable symbols have been appropriated as an expression of individuality, identity, and pride.

1583/5 – Annibale Carracci, Portrait of a Woman Holding a Clock

1580-1589 , 16th century , artwork analysis , BIPOC

1592 – Marcus Gheeraerts the Younger, Elizabeth I (1533-1601), Queen of England

1590-1599 , 16th century , artwork analysis

bombast/bombasted

16th century , 17th century , B , term definition

1590-1599 , 16th century , decade overview

1510 – Titian, Portrait of a Man with a Quilted Sleeve

1510-1519 , 16th century , artwork analysis

17th century , 18th century , 19th century , 20th century , A , Africa , BIPOC , term definition

Produced by the Asante peoples in Ghana, adinkra is a flat, cotton textile that is stamped with symbols which create the meaning of the garment. 

17th century , 18th century , 19th century , B , term definition

raffia cloth

17th century , 18th century , 19th century , 20th century , Africa , R , term definition

17th century , 18th century , 19th century , 20th century , 21st century , Africa , K , term definition

17th century , 18th century , 19th century , Americas , term definition , W

17th century , 18th century , 19th century , Americas , Q , term definition

• 18th century
• 19th century
• 20th century
• 21st century

1785 – Adélaïde Labille-Guiard, Self-Portrait with Two Pupils

1780-1789 , 18th century , artwork analysis

The self-portrait of Adélaïde Labille-Guiard alongside two of her students, Marie Gabrielle Capet and Marie Carreaux de Rosemond, shows the influence of the Rococo and Neoclassical styles in the late 18th century. 

1780-1789 , 18th century , decade overview

1770-1779 , 18th century , decade overview

1760-1769 , 18th century , decade overview

1750-1759 , 18th century , decade overview

1740-1749 , 18th century , decade overview

19th century , 20th century , Africa , Americas , BIPOC , D , term definition

A loose-fitting pullover tunic traditionally worn in West African cultures that was adopted by African diasporic communities as a symbol of African heritage in the 1960s and then more widely worn as a popular item of "ethnic" fashion.

1885 – Henry Lerolle, The Organ Rehearsal

1880-1889 , 19th century , artwork analysis

1893-94 – Mary Cassatt, The Boating Party

1890-1899 , 19th century , artwork analysis

1870-71 – Paul Cézanne, The Conversation

1855 – Black Taffeta Day Dress with Rose and White Stripes

19th century , 20th century , 21st century , A , Asia , term definition

1970 – Rudi Gernreich, Caftan

1970-1979 , 20th century , garment analysis , LGBTQ+

Rudi Gernreich's 1970 caftan reflects the designer's politics and his tireless effort toward creating genderless clothing. The piece features his characteristic loose silhouette as well as his technique of using patterns to de-accentuate the assumed gender of the wearer. 

bogolanfini

20th century , Africa , B , term definition

dentalium cape/dress

19th century , 20th century , Americas , D , term definition

1995 – Thierry Mugler, “Birth of Venus” Dress

1990-1999 , 20th century , garment analysis , LGBTQ+

19th century , 20th century , A , Americas , term definition

1938 – Elsa Schiaparelli, The Tears Dress

1930-1939 , 20th century , garment analysis

The Authentication of Chinese Culture in African Fashion

2000-2009 , 2010-2019 , 21st century , Africa , Asia , thematic essays

Since the mid-20th century, relations between Africa and China have grown stronger leading to a significant change in the mutual adaptation of fashion between both nations. A 21st century, Sino-African style has been formed by the intercultural meshing of traditional garments, textiles, and motifs.

2003 – Alexander McQueen, Oyster Dress

2000-2009 , 21st century , garment analysis

2000-2009 , 21st century , decade overview

pelete bite

19th century , 20th century , 21st century , Africa , B , P , term definition

chantilly lace

17th century , 18th century , 19th century , 20th century , 21st century , C , L , term definition

A History of Women’s Swimwear

18th century , 19th century , 20th century , 21st century , thematic essays

1770-96 – Agostino Brunias, Free Women of Color with Their Children and Servants in a Landscape

1770-1779 , 1780-1789 , 1790-1799 , 18th century , artwork analysis , BIPOC

1787-9 – Alexandre-August Robineau, The Fencing-Match between the Chevalier de Saint-George and the Chevalier d’Eon

1780-1789 , 18th century , artwork analysis , BIPOC , LGBTQ+

1955 – Charles James, Butterfly dress

1950-1959 , 20th century , garment analysis , LGBTQ+

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Home » All articles » The Origins and Evolution of Fashion: A Cultural History

The Origins and Evolution of Fashion: A Cultural History

Alright, fam. So, let’s chat about something that’s all around us, but we seldom stop to really think about: fashion . Yup, that whole vibe check experience that happens the moment you decide what to wear every morning, or probably the night before if you’re the type who plans their ‘fit to a T. But here’s the kicker – fashion isn’t just about looking dope or scoring mad likes on your Insta #OOTD post. It’s low-key been a massive part of human culture for centuries. Seriously, we’re talking millennia here! So, let’s deep dive into this world, starting from the ancient drip and bringing it back to today’s streetwear frenzy. Ready to roll? 🤙

Table of Contents

Fashion Through the Ages: A Whole Mood

Fashion ain’t just fabric. It’s an expression. It’s art, culture, rebellion, and, sometimes, pure drama. The origins of fashion take us wayyy back, like before-internet back. Think cavemen, but with more style – or the beginnings of it anyway.

The OG Fashionistas: Ancient Civilizations Let’s rewind (like, way back) to ancient Egypt, where pharaohs and their squads rocked linen like nobody’s business. Linen was the fabric of choice because of that brutal heat, but it wasn’t just about staying cool. The Egyptians made fashion into a real vibe. They were all about showing off their status, which meant gold jewelry, wigs, and that iconic eye makeup. Cleopatra didn’t just stumble into legend status for no reason. She knew the power of a solid look. Over in Mesopotamia, fashion meant draped fabrics and tassels, and in ancient Greece, it was all about the iconic togas and those delicate pleats. The message was simple: your clothes said as much about you as the words coming out of your mouth.

And let’s not forget ancient China and India, where fashion wasn’t just an accessory but a freaking manifesto. The Hanfu in China wasn’t just worn for aesthetics; it symbolized harmony and connection with the cosmos. This was immaculate drip with meaning, blending silk with wealth, status, and sometimes even rebellion. In India, the Saree’s origins can be trailed back to the Indus Valley civilization! Who knew that a six-yard piece of cloth could slay for centuries, balancing daily wear with pure elegance? These ancient vibes show that fashion was less about trends and more about flexing your social power, spiritual beliefs, and vibe-check approval from the gods.

Moving to Ancient Rome, the Toga was king, draped in all sorts of elaborate folds that flexed wealth and prestige. Rome’s take on fashion was less about bright colors and more about a controlled, monochromatic style. It was like they curated their Pinterest board with modesty as the theme. Meanwhile, in Japan, the Kimono was an art form—each layer, hand-stitched pattern, and fabric chosen with the utmost precision. Every detail in ancient Japanese fashion had meaning, whether it was about telling the world you were royalty or just dripping elegance.

The Medieval Magic

Fast forward to Medieval Europe, and fashion took a leap into something more structured and a little less laissez-faire. We’re talking corsets, doublets, and all sorts of TikTok-worth medieval looks. But it was way deeper than that—fashion was symbolic of the class hierarchy. If you were royalty or nobility, velvet, fur, and brocade were your go-tos. Your clothing screamed “I have mad cash,” while peasants did whatever they could to mimic the latest fashions within the limitations of their meager means. It became high-key illegal in some places to wear certain colors or fabrics if you weren’t in the top tier of society. Total class divide serving medieval realness.

But here’s where it gets even juicier: fabric, color, and cut were all social media before social media existed. This era was all about the long sleeves, deep necklines, and crazy headgear to flex social status. People legit used to wear mini-fortresses on their heads in the form of pointy hats and towering veils. And the layers? Think of them as the medieval mix-and-match challenge. More layers, more wealth. True luxury. Plus, let’s not forget the knights in their armor with the most intricately designed embellishments—fashion was do or die, literally, with swagged-out knight gear.

Fashion codes and rules got even stricter when we hit the High Middle Ages around the year 1000. By then, people were even more tuned into what they couldn’t and could wear. If you were out here messing up the fashion rules, you were basically a walking crime. The upper class became obsessed with silk and dyes, as well as with twill, a diagonal weave that created a lush texture, flexing on anyone who wasn’t on their level. Even the Pope got in on the action, laying down laws about clerical fashion. From clerical restraint to noble power plays, fashion in Medieval Europe was the ultimate flex.

Renaissance to Rococo: The Glow-Up

When we hit the Renaissance, there was no chill button on fashion. This was the era where swag became art, and art became swag. Shakespeare didn’t just write plays. The dude basically invented the fashion influencer vibe of his time. Just like a Renaissance painting, fashion was all about beauty, expressiveness, and drama. Doublets, ruffs, huge gowns, and capes were the main staples. Tudors like Henry VIII and Elizabeth I used fashion to make political statements—yeah, you heard that right. Elizabeth’s white face makeup, for instance, was a power move, and Henry’s broad-shouldered looks shouted masculinity and dominance. These weren’t just rulers; they were the original influencers.

The Rococo era served extra. The wardrobes exploded with the bling and excess of Marie Antoinette and Louis XVI. Think pastel colors, intricate patterns, big-ass wigs, and artificial beauty marks. They were the equivalent of designer labels today. This period was all about peacocking , y’all. Society was still hella segregated, but for those in the spotlight, fashion wasn’t just optional—it was everything. If your outfit wasn’t screaming wealth and decadence, were you even at the ball?

But here’s the tea: Late 18th-century French fashion didn’t just stop at excess. The French Revolution flipped the script. The crumbling aristocracy hated the rise of more simplistic, reason-focused outfits. Gone were the elaborately powdered wigs; in came the “dress down” Republic influence that represented liberty, equality, and fraternity. When the revolutionaries took to the streets, fashion was no longer just about flexing your wealth. It was about making a political statement—a trend that has stuck around ever since.

Industrial Revolution: The Start of “Fast Fashion”

Jumping right into the 19th century, the Industrial Revolution didn’t just change the game; it created the game we know today. Before this period, most outfits were made by hand. Rich people got tailored fits, and the working class had to DIY their gear. But the Industrial Revolution introduced mass production. We’re talking spinning jennies, sewing machines, and factories galore. Suddenly, clothes were cheaper, and trends could catch fire way faster. This is the point where the steam engines fueled the pace of fashion, dropping in some serious speed like an A-list Nascar race.

Victorian fashion took the cake too, leaving behind the simpler, French Revolution-era styles for structured, crinoline-heavy, and corset-loving styles. This was the era when everyone flexed serious silhouettes: hourglass for women, broad shoulders for men. Even though mass production peaked during this time, hand-made, bespoke fashion remained the ultimate exclusivity test. If your clothes weren’t custom-made, you were rocking basics—Victorian basics were way bougier than the ones today, though.

The 1800s also saw the emergence of the first real “fashion designers.” Enter Charles Frederick Worth, who hit the scene in Paris and basically invented haute couture. Worth didn’t just dress people; he dictated what they should wear. Every drip had layers of meaning, from the choice of fabric to the cut of the gown. By the end of the century, Paris was the fashion capital of the world, and designers were legit celebrities. Trends traveled across Europe to America, but everyone knew the French were setting the standard for high fashion.

20th Century: When Fashion Popped Off 💥

Fast forward to the 20th century, and fashion goes wild. This is when everything started speeding up—not unlike one of those dope, high-speed time-lapse TikToks. First, we’ve got the early 1900s and the Edwardian era, which straight-up idolized the hourglass figure. Women were tight in corsets and flowy skirts; men were in tailored suits that screamed, “I mean business.”

But brace yourself because the Roaring ’20s flipped the fashion script like a vintage record scratch. Women’s fashion shed the heavy corsets and floor-length gowns. Instead, they rocked shorter hemlines, bobbed hair, and loose, straight-line dresses. The flapper was born—she was independent, carefree, and ready to party. Menswear also relaxed a little, moving toward more casual styles (although the formal suit was still a major vibe). All of this was a reaction to the crazy changes after WWI—people wanted to live it up, and their clothes reflected that freedom.

Then the 1930s and ’40s happened, and fashion got more pragmatic. The world was dealing with the Great Depression and WWII, so peeps had to get resourceful. The glitz and glam fizzled out a bit as styles became more subdued and functional. Women still kept it cute, but with the whole war thing, they had to rock what was available: think trench coats and A-line skirts. Men’s fashion was about military-inspired looks—clean, restrained, with lots of wool and khaki. War turned the fashion scene into a place where utility became not just trendy, but necessary.

The 1950s saw a resurgence of prosperity, so fashion got its glow-up. Dior’s New Look brought back curvy silhouettes with cinched waists and full skirts. Everyone was dressing to impress, whether for a night out or just grocery shopping. The 1950s became the era of the “ideal woman”—poised, polished, and undeniably feminine. The men rocked classic grey flannel suits and fedoras, which screamed “Man on a mission.” But don’t sleep on this decade, ’cause it was also when youth culture started bubbling up as a legit influence on fashion, thanks to rock ‘n’ roll and Hollywood icons like James Dean.

Oh, but the 1960s? That’s when fashion straight-up exploded into a full-on cultural revolution. We’re talking about mod, hippie, and psych looks. From Britain’s Mod culture with twiggy mini skirts and sharp A-line dresses to America’s flower child aesthetic, the youth really took over. Suddenly, the generations were battling it out style-wise, and the younger crowd was winning. Fashion started getting wild, a straight-up rejection of the styles of previous generations, and clothes became a platform for spreading vibes of peace, love, and rebellion.

Hitting up the 1970s, we see fashion embracing counterculture even more. It was all about expression—bell-bottoms, tie-dye, platform shoes, and into-the-groove disco aesthetics. Everyone was into self-expression, and fashion was one of the most instant ways to do that. The ‘70s saw the flip from conformity to chaos—style had no rules anymore, and anything was game. Whether you had free love in mind, wanted to live out your punk rock fantasies, or were just riding out the disco vibes—you had an outfit for that.

The Digital Era: We Run This

The 1980s brought on the true rise of the brand. No cap, logos were everywhere, and people were buying into aspiration. From Calvin Klein to Ralph Lauren, designer labels stopped being niche and started becoming a staple for anyone who wanted to be seen. Power suits, bold neon colors, shoulder pads, and excess defined the decade’s style, which mirrored the era’s economy. The idea was to be big —the bigger, the bolder, the better.

But the ‘90s? 🚨Style alert: Things calmed down, but not really. Nirvana dropped its first album, and Grunge took the culture by storm. Think oversized flannel shirts, ripped jeans, and combat boots—basically the anti-fashion movement that hit mainstream fashion by storm. Gen X was rebelling too, just trying to vibe on their own. The aesthetic was rugged and raw, drawing a sharp line away from the sleekness of the ’80s. Icons like Kurt Cobain became unwilling fashion influences—they were just wearing what they liked, but the influence grew bigger than the music. And don’t even get me started on Hip-Hop and RnB. That genre had people trading in comfy baggy fits for iconic streetwear brending, vibrant colors, bucket hats, and Air Jordans . The fashion was telling stories, and it wasn’t afraid to speak the truth on them.

When Y2K (the early 2000s for those not in the know) hit, fashion got weird—but like, in a cool way. We’re talking low-rise jeans, tiny bags, tons of bedazzling, Von Dutch caps, Juicy Couture tracksuits, and the return of the minimalist aesthetic. We were literally embracing the future with shiny fabrics and metallics. The late ‘90s/early 2000s felt like the Wild West of fashion ‘cause it was just a mishmash of everything going on all at once. Hip-hop influences made their mark with baggy jeans and snapbacks on the one side, while preppy and punk culture clashed on the other. Fashion was fast, it was experimental, and it was everywhere. And just when you thought we’d peaked, streetwear hit next.

The Rise of Streetwear & Insta-Bait

Streetwear is like the underdog that ate the whole game . What started as a niche, underground movement born out of LA and NYC skaters in the 1980s, streetwear turned into a worldwide phenomenon by the 2010s. Big players—think Supreme, Off-White, and, of course, Yeezy—broke down the walls between high fashion and what was once deemed casual wear. It was the democratization of fashion; instead of couture houses dictating trends, you had a bunch of scrappy kids in hoodies taking over the world. And let’s not sleep on the cultural significance: streetwear didn’t just influence fashion; it became a lifestyle. From Run D.M.C. rocking Adidas sneakers to Virgil Abloh redefining just what high fashion could mean, streetwear hasn’t just been about the ‘fit but about culture itself.

And then came Insta-bait fashion. You know what I’m talking about. Those lewks that aren’t just worn—they’re curated for that fire ‘gram post. The hashtag-driven, double-tap inducing fashion that aims to break the internet. We’ve developed trends at breakneck speed, thanks to influencers who singlehandedly shape them. We’re talking Balenciaga’s sock sneakers, the Gucci belt, bike shorts, and oversized everything. Fashion is no longer limited by geography or gatekeepers; it’s global, it’s democratized, it’s on your feed 24/7. Social media has turned fashion into a participatory event, giving us all a seat at the table.

Future Fashion: What’s Next?

So, what’s the next move in fashion? We can’t predict for sure, but it’s safe to say it’s going to be wild, lit, and heavily influenced by tech. Maybe it’s VR fashion where you’re trying on clothes in the metaverse, or self-cleaning, smart, sustainable fabrics that make your wardrobe last for years. Maybe it’s even going to be AI-designed custom outfits that perfectly match your vibe-mood-energy combo on any given day.

One thing’s for sure: sustainability is getting bigger and bigger. Brands are starting to catch mad heat for wasteful practices, and Gen Z ain’t afraid to call them out. Upcycling, thrifting, and eco-friendly production are on the rise—because who doesn’t want to look fly while also saving the planet? Expect to see more ethical and inclusive fashion movements leading the charge. We’re over fast fashion that trashes the earth, and we’re here for clothes that make a difference.

Revolutionary tech will also keep navigating us toward more avant-garde styles—think wearable chargers, climate-adaptive materials, and even fashion for different body types and gender expressions. Fashion is slowly but surely losing its boundaries, its molds, and its old-school structures. It’s about to become one hundred percent limitless, and the real deal is, you should be here for it.

A Quick List of Dope Fashion Movements to Know 👇

• Haute Couture : The glam, high-end fashion elite that started in Paris—basically what runway dreams are made of.
• Streetwear : Born from skaters and hip-hop heads, now a global game-changer.
• Punk Fashion : Think safety pins, mohawks, leather jackets—fashion as rebellion.
• Mod : Britain in the ’60s—geometric designs, bold colors, and clean cuts.
• Grunge : Raw, real, and an anti-fashion response to all things polished and neat.
• Y2K : Over-the-top metallics, low-rise everything, and bold AF choices.
• Sustainable Fashion : The future of fashion—less waste, more wins.
• Minimalism : Less is more—clean designs, smooth silhouettes, and hardly any hype.

FAQs About Fashion Through the Ages

Q: Why is fashion so important? A: Fashion’s more than just what you wear. It’s culture, identity, a mood, and, sometimes, a movement. Your outfit can show the world who you are, make a statement, or even spark a trend that changes everything.

Q: Did streetwear really start from skater culture? A: 100%. Streetwear’s roots are deep in the skater and hip-hop culture of the ’80s and ’90s. It started with kids customizing their looks and evolved into a global phenomenon that influences even the most high-end designers today.

Q: Why do trends in fashion keep repeating? A: Fashion is low-key cyclical. Trends will always return with a twist—like how ’90s looks have come back but with a modern spin. Part nostalgia, part remix culture, it’s just the way fashion evolves.

Q: What role did WWII play in fashion? A: WWII had a massive impact. Clothes had to be practical and durable because of fabric rationing, and this era birthed the utility look. Plus, women started wearing more functional clothes since many entered the workforce, impacting fashion for good.

Q: Why did Marie Antoinette wear such extravagant clothes? A: Marie Antoinette was a queen who redefined "extra." Her wardrobe was a power move to show wealth and influence. Sadly, it made her a target when the French Revolution started because people saw her as out of touch.

Q: What’s haute couture? A: Haute couture is like the supernatural level of fashion—one-of-a-kind pieces made from the finest materials by top designers. We’re talking dream fashion that usually costs more than your whole closet combined.

Q: What’s happening to fashion in the digital age? A: The digital era is fire for fashion. Trends come from everywhere, Insta influencers set the pace, and we’re moving toward a more democratized, global scene where anyone can break into the game—even if it’s just through selfies.

Sources and References

• Steele, Valerie. Paris Fashion: A Cultural History . Bloomsbury Publishing, 1998.
• Wilson, Elizabeth. Adorned in Dreams: Fashion and Modernity . University of California Press, 2003.
• Entwistle, Joanne. The Fashioned Body: Fashion, Dress, and Modern Social Theory . Polity, 2015.
• Breward, Christopher. Fashion . Oxford University Press, 2003.
• Garber, Megan. "History in Heels: How Fashion Affected the French Revolution." The Atlantic , 2013.
• Loschek, Ingrid. When Clothes Become Fashion: Design and Innovation Systems . Berg Publishers, 2009.

And there you have it. Fashion isn’t just about the trends — it’s about the culture and the stories deeply rooted in every single thread. From ancient times to now, it’s been a crazy, exciting ride and it doesn’t look like we’re slowing down anytime soon. So stick with it and let’s keep making our own rules. 🧢

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History of Fashion

1. history of fashion, 2. the importance of fashion, 3. earliest clothing, 4. sources of clothing history, 5. fashion through the ages, 6. historical trendsetters, 7. queen elizabeth 1 queen of england, 8. louis xiv king of france, 9. marie antoinette queen of france, 10. george bryan “beau” brummel, 11. jacqueline kennedy onassis, 12. the beatles, 13. the last 100 years +, 14. the late 1800’s, 15. the early 1900’s, 16. the 1910’s, 17. the 1920’s, 18. the 1930’s, 19. the 1940’s, 20. 1947: the dior new look, 21. the 1950’s, 22. the 1960’s, 23. the 1970’s, 24. the 1980’s, 25. the 1990’s, 26. the 2000’s.

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Fashion History.

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Illustrated Timeline Presents Women’s Fashion Every Year from 1784-1970

This post may contain affiliate links. If you make a purchase, My Modern Met may earn an affiliate commission. Please read our disclosure for more info.

As a versatile art form, fashion illustration is intended to showcase the material, colors, and design of clothing. In addition to acting as a study of style, these drawings also inadvertently offer a glimpse into the history of fashion design and social pop culture of the time, as evident in this collection of delicate and detailed illustrations.

Meticulously compiled using a number of historic fashion plates, this timeline showcases the many shifts in styles that occurred in women's fashion over the course of nearly 200 years. The chronological presentation begins in the year 1784, when frilly, floor-length hoop skirts were all the rage. It then meanders through the next several decades, depicting a gradual tendency toward slimmer silhouettes in the early 1800s, a preference for over-the-top headdresses in the 1830s, and the re-emergence of the fuller ballgown in the 1860s.

By the 20th century, however, a-lines were in again, until loose-fitting, knee-length frocks stole the show in the 1920s. For the next 50 years, styles remained relatively short and slim—until 1970, when pants finally make their much-anticipated, grand debut.

The timeline ends here, perhaps because high-fashion photography proved such sketches to be obsolete. While fashion illustrations may not be as widely created or used today, some contemporary artists continue to keep the craft alive with their dazzling designs and dedication to documenting today's styles.

Compiled using fashion plates, this timeline traces women's fashion history from 1784-1970.

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HISTORY OF FASHION

Nov 12, 2021

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History of fashion design refers specifically to the development of the purpose and intention behind garments, shoes and accessories, and their design and construction. The modern industry, based around firms or fashion houses run by individual designers, started in the 17th century with Charles Frederick Worth who, beginning in 1858, was the first designer to have his label sewn into the garments he created

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THE HISTORY OF FASHION

LEARNINGTARGETS INDIVISUAL PRESENTATION 1. The fashions that teens wear now – What inspired them? – Could they have been worn earlier in the 20th century? – You are wearing the same blue jeans that a coal miner might of worn 150 years ago- sure there are changes- but jeans are jeans! Fashion has developed over time, but just like history, it repeats itself! INDIVISUAL SUBMISSION - SKETCHES CAN BE EITHER MANUAL OR SOFTWARE BASED 2. Develop a range of 5-7 garments taking inspiration from any 3 fashion contributor country(Egypt/Greece/Roman/France/Japan/China/India) discussed during the session. Points to incorporate in your sketches • Make-up & Hairstyle • Motifs/Prints/Patterns • Colors GROUP ACTIVITY- FORM 7 GROUPS EACH GROUP WILL TAKE 1 FASHION CONTRIBUTOR COUNTRY. 3. Collect visuals from magazines/books/newspapers/internet and create a collage comparing clothing similarities between the ancient clothing & the present fashion (any 1 country). ALL THE GROUP MEMBERS WILL TALK ABOUT THE ASSIGNMENT ONE BY ONE. GROUP ACTIVITY- CAN BE CONDUCTED ON SATURDAY’S 4. Do/Develop the accessories/makeup/hairstyling/draping, activity in a group of 2-3 students taking inspiration from the current topic taught in History of Fashion class.

PROJECT REFERENCE

THE EARLIEST CLOTHING • Thousands of years ago people learned to make clothing from natural resources as protection from the weather. – Animal skins & hair – Plants – Grasses – Tree bark How do we know all of this? Through cave and tomb drawings and ancient sculptures. •

FIRST CLOTHES AND FABRICS • • • Simple in structure & design Varied from region to region Fragments of textiles date back to 7500 B.C. Linen cloth was made from flax plants by Egyptians in 5000 B.C Thousands of years later inhabitants of India, Pakistan, and possibly Americans made fabric of cotton • •

FASHION OF EARLY CIVILISATIONS • • • • People learned to raise animals and grow crops They refined the arts of spinning, weaving, and dyeing They began to cut fabric into garments Ancient fashion contributors include: – Egypt – Greece – Roman Empire – France – China – Japan – India

EVOLUTION OF FASHION Evolution of Fashion • Fashion changed very slowly • People often wore the same style clothing for life • A particular style could continue past a lifetime • Until the 14thcentury, European clothes were loose-fitting and draped • Around 1350 people started wearing more fitted styles • Regional clothing differences became visible as European settlers came to America

MEN& WOMEN EARLY CLOTHING • Men – Knee-length pants called breeches • Women – Gowns with a fitted bodice, full skirt, and long, full sleeves. • Embroidery and decorative edging • Wealthy wore silk garments trimmed with fur and adorned with silver accents • Peasant clothes were limited to certain colors and fabrics

FASHION IN ANCIENT EGYPT

LINEN • All clothes were almost always made of linen which is made from flax. Growing flax was a job for men only. Flax stems were soaked for several days. The fibres were beaten until soft. The fibres were twisted into strong thread. The weaving was done on a loom. White linen had to be washed a couple of times. They washed it in the river or canal, rinsed, then it was pounded on a stone. After that it was bleached in the sun. They pressed the linen into grooves on a wooden board to let it dry. • • • • • • •

LIONCLOTH • • A triangular piece of cloth worn by commoners, nobilities and royalties. Slaves were only allowed to wear it after the formation of new kingdom.

SCHENTI • A skirt which is pleated in front worn by nobilities and royalties. Till knee level Till thigh level in the old kingdom. 3000 B.C. to 2000 B.C. • •

TUNIC • A rectangular piece of cloth with a hole in the centre for the neck worn by pharaohs after conquering Ceria. 1500 B.C. to 750 B.C. •

KALASIRIS • • Worn by women. Sheath or a tube dress with straps. 2 or one strap going over the shoulder. Mid-calf or ankle length. Starched and pleated. • • •

CAPE • Worn by women by the new kingdom. A round piece of cloth with a hole in the centre for the neck and belted at the waist. •

FOOTWEAR • Wore during the new kingdom. Made of leather or papyrus fibre. •

ANCIENT EGYPTIAN JEWELLERY • Mummies were decorated with jewellery before they where put inside the pyramids. Rich women wore gold jewellery sets with precious stones. Even very poor people wore jewellery. They had necklaces and rings made from shells or beaten copper. Jewellery was worn by both men and women, for magical as well as aesthetic reasons for example, a fish pendant might protect a child from drowning. Egyptians liked to look good, they wore simple, flowing clothes and lots of jewels. Poor people wore copper rings or a string of beads. The more important a person was, the more jewellery they wore. They wore jewelled belts, earring, rings , bracelet and collars –– deep, flat necklaces that fastened at the back. • • • • • •

ANCIENT EGYPTIAN JEWELLERY

MAKE UP • Eye shadow: made of malachite which is red and green in colour Hena: nail paint and colouring their hair Kohl: eye liner made of galena ore PURPOSE OF MAKEUP To keep away the insects. To keep away the evil eye. To prevent inflammation and allergy. Dust • • 1. 2. 3. 4.

CLEOPATRA • CLEOPATRA: the last pharaoh of Egypt. • She tried to restore Egypt to greatness but she was conquered by the Roman Empire and committed suicide with lover, Mark Antony. • She poisoned herself.

KING TUTANKHAMON

FASHION IN ANCIENT GREECE

GREEK -CIVILISATIONS 1. The three significant civilisations of ancient Greece are- • Minoans •Mycenaean •The Ancient Greek 2. The purpose of clothing was not only to cover & protect the body, but also to decorate & enhance the beauty of the wearer. 3. In Ancient Greece, a persons tunic was decorated at the hemline to represent the city or state in which he lived.

8 thCentury B.C -18 thCentury A.D •The kind of clothing worn in ancient Greece was loose and flowing and the garments were often sewn together. • The fabrics used were mainly linen or wool. •Women also wore a veil with their clothing whenever they stepped out of the house. •In fact, the ancient Greek fashion was quite modern in its outlook as far as men were concerned to the extent that male nudity was really not a big deal in ancient Greece.

8 thCentury B.C -18 thCentury A.D • Greeks did not cut and sew their clothes until the fourth century. They used to create different styles by draping finely woven cloth around their bodies. •The wealthy people could afford fine wool & linen, others used textiles made of coarse wool. •Much of our knowledge of Greek Fashions comes from the marble sculptures. •Many people thought they wore only white garments but, experts discovered. That these statues were once covered with bright paint that wore off over the Centuries.

CHITON •Chiton was worn in the ancient Greece by men as well as women. •Unisex clothing was quite popular in ancient Greek fashion. •Later on both men and women started wearing stitched Chiton tunics with a U or V neckline •The Chiton could be worn with a Himation or it could be worn without it as well. •A belt was also worn with the chiton, which was called the zoster.

CHLAMYS •The Chlamys was also flowing in its appearance and was mainly worn by the soldiers in ancient Greece. •The chlamys was also worn with other forms of clothing. • This was worn pinned at the right arm.

PEPLOS •The Peplos consisted of a tubular shaped cloth—this was folded from the inside out. •The top area of the tube usually gathered at the waist and the bottom area extended till the ankles. •The cloth on the upper area was brought underneath the left arm—this was secured with the help of tapes or pins on the right shoulder •The top layer of the cloth, which draped the waist often gave the appearance of two pieces of cloth •There were certain types of patterns that were used for the peplos. Some of the common patterns included checks, flowers, waves or even stripes.

HIMATION •When the himation was being worn in ancient Greece, it represented a form of outdoor wear. •The himation is also an important garment of ancient Greek fashion. •This was generally made from a rectangular piece of wool with the use of lighter fabrics, the himation was worn at any time of the day. •The himation was loose and flowing, thus, it can be termed as a modern cloak—it was also used as a form of drapery to be worn over the chiton.

JEWELLERY •Jewelry did form a significant part of ancient Greek fashion was discovered with the findings of jewelry at the Greek sites which proves that women in ancient Greece loved to wear all sorts of jewellery with their flowing garments—bracelets, earrings and necklaces •Even men were not left behind as far as ancient Greek fashion was concerned. It is known that men wore jewellery till the 4th century.

MAKE UP •Ancient Greek women also used make up—pale or light skin was considered a status symbol for women. •Women used honey and olive oil to improve their skin •They often used substances as a substitute for cosmetics for enhancing their looks Dark powder was dusted over the eyebrows and red powder was used over their lips •Women also loved to wear their hair long during this period.

HAIRSTYLE •Hairstyles in ancient Greece also changed over time •In the early days of Greece, men normally wore their hair short and grew beards •Later on beards went out of style •Long hair was typical for Greek women; only slave women would wear their hair short •Women curled and braided their hair in early Greece •Later the style was to tie their hair back or put it up into a bun.

ROMAN CLOTING

ROMAN CLOTING •Most people wore clothes made from wool or linen. Cotton cloth brought from India and silk from China were also used for making clothes, but they were too expensive. •Fur was also used, especially in winter. •Clothes were usually made from large, uncut pieces of cloth, which were folded and pinned with pins, or tied with belts.

MEN’S CLOTING •A man´s basic clothing was a loincloth (underwear) and a tunic over it. •Tunics were made from two rectangles stitched at the sides and shoulders, and tied with a belt. •If he were a citizen, he would also wear a toga. •A toga was a large piece of cloth wrapped round the body. 1. 2. 3. Tunic Palla Stola

WOMEN’S CLOTING •Over the underwear, women wore a tunic made of wool or linen, with our without sleeves. •Over this they wore a dress called stola, which reached their ankles. •They sometimes wore a shawl, called the palla, on top. It was a large rectangular piece of cloth which they could drape over the stola in many ways. •Tunic •Palla •Stola

THE TUNICA • Nearly all Romans wore a simple tunic under more formal clothes, while slaves generally wore only a tunic A tunic worn as underwear was known as tunica intima. Male tunic would generally reach roughly to the knees, whereas women’s tunics would generally be longer, some reaching to the ground. Female tunics often also had long sleeves This was the most basic of the Roman garments. It was basically a long, woolen T-shirt that fell just below the knee. Most tunics were solid white,There was some formal differences in tunics which denoted social rank. Boys’ tunics, had a garnet-colored stripe. • • • • • •

STOLA STOLA and PALLA • The stola was a long, pleated dress, worn over an undergarment called a tunic or tunica intima (the Roman version of a slip). The stola was generally sleeveless but versions of it did have short or long sleeves. These sleeves could belong to the stola itself or be a part of the tunic. The traditional sleeveless stola was fastened by clasps at the shoulder called fībulae The stola was frequently worn with a a long shawl-like garment called a palla. It was worn when women went outside and typically went over one shoulder and draped across the body. It could also be pulled up over the head as a shawl. The stola typically had two belts, and was typically girt with ribbons The first was worn just below the breasts creating a great amount of folds. The second and wider belt was worn around the waist. • • • • • • •

STOLA STOLA and PALLA Tunica Intima Stola FĪBULAE

PALLA STOLA and PALLA • The stola was a long, pleated dress, worn over an undergarment called a tunic or tunica intima (the Roman version of a slip). The stola was generally sleeveless but versions of it did have short or long sleeves. These sleeves could belong to the stola itself or be a part of the tunic. The traditional sleeveless stola was fastened by clasps at the shoulder called fībulae. • • •

PALLA STOLA and PALLA

TOGA STOLA and PALLA • In the early days the toga was worn directly on the naked body, then later a simple tunic was added, tied at the waist with a belt. There were some old families with ancient ancestry who insisted on continuing the tradition of dressing without a tunic, but their fellow Romans understood them somewhat eccentric. Basically the toga was a large blanket, draped over the body, leaving one arm free. Through experiments historians have concluded that the vast blanket took the form of a semi circle. •

TOGA STOLA and PALLA

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