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[16] designers such as Britain's Norman Hartnell made soft, pretty dresses with fluttering or puffed sleeves and loose calf-length skirts suited to a feminine figure. His " white mourning " [ 17 ] wardrobe for the new Queen Elizabeth 's 1938 state visit to Paris started a brief rage for all-white clothing.
Mary Duffy's Big Beauties was the first model agency to work with hundreds of new plus-size clothing lines and advertisers. For two decades, this plus-size category produced the largest per annum percentage increases in ready-to-wear retailing. Max Mara started Marina Rinaldi, one of the first high-end clothing lines, for plus-size women in ...
A young woman wearing a wrap dress. Starting in 1975, women's semi-formal wear became more tailored and sharp. This included a lot of layering, with women wearing two blouses at once, multiple sweaters, pants underneath tunic dresses, and jumpers worn over long, fitted dresses.
The fashion for women was all about letting loose. Women wore dresses all day, every day. Day dresses had a drop waist, which was a belt around the low waist or hip and a skirt that hung anywhere from the ankle on up to the knee, never above. Daywear had sleeves (long to mid-bicep) and a skirt that was straight, pleated, hank hem, or tiered.
The upper part of women's dresses in the Edwardian era included a "pigeon breast" look that gave way to a corseted waist and an s-shaped silhouette. [54] Women called their dresses "waists" if one-piece, or "shirtwaists," if it consisted of a skirt and a blouse. [55] The bodice of the dresses had a boned lining. [55]
In Medieval and Renaissance England gown referred to a loose outer garment worn by both men and women, sometimes short, more often ankle length, with sleeves. By the 18th century gown had become a standard category term for a women's dress, a meaning it retained until the mid-20th century.
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