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Prior to the inception of the Ulster coat in the first half of the nineteenth century, the greatcoat or surtout was the main component of a gentleman's wardrobe. Whilst fashionable at the time, these garments proved to be very cumbersome for travel due to the heavy lengths of overlapping cloth involved in creating the silhouette.
In 1981, French designer Anne-Marie Beretta created the model 101801 coat, a camel-coloured wool and cashmere overcoat that became an iconic symbol of Max Mara. Inspired by the men's Ulster coat, the most noticeable feature of this model is the "puntino," a stitching detail derived from men's tailored suits.
The Chesterfield coat, with its heavy waist suppression using a waist seam, gradually replaced the over-frock coat during the second half of the 19th century as a choice for a formal overcoat, and survived as a coat of choice over the progression from frock coat everyday wear to the introduction of the lounge suit, but remained principally associated with formal morning dress and white tie.
The Ulster coat, a working daytime overcoat initially with a cape top covering sleeves, but then without; it evolved to the polo coat after losing its cape. The Inverness coat, a formal evening or working day overcoat, with winged sleeves. The Paletot coat, a coat shaped with side-bodies, as a slightly less formal alternative to the frock overcoat.
In the first decades of the 20th century, it was replaced by sack overcoats like the Chesterfield coat, the guard's coat, and the Ulster coat and the Inverness coats and such, mirroring the change from frock coats to modern suit jackets. The expensive over-frock became impractical in comparison.
Fashion design is the art of applying design, aesthetics, clothing construction and natural beauty to clothing and its accessories. It is influenced by culture and different trends and has varied over time and place. "A fashion designer creates clothing, including dresses, suits, pants, and skirts, and accessories like shoes and handbags, for ...
The general European convention of completely covering married women's hair was not accepted in warmer Italy. [26] Italian women wore their hair very long, wound with ribbons or braided, and twisted up into knots of various shapes with the ends hanging free. The hair was then covered with sheer veils or small caps.
Style in men's and women's footwear was the same in this period. Shoes for men and women were flat, and often slashed and fastened with a strap across the instep. They were made of soft leather, velvet, or silk. Broad, squared toes were worn early, and were replaced by rounded toes in the 1530s.