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Schiaparelli wrote that the ancient Greeks "gave to their goddesses... the serenity of perfection and the fabulous appearance of freedom." Her own interpretation produced evening dresses of elegant simplicity. Departing from the chemise, her clothes returned to an awareness of the body beneath the evening dress. Style gallery 1920–25
Later, in the 1920s, the hemlines of evening gowns rose and cuts were very simple to match the new life style of the Flapper era. The 1930s introduced bias cuts and artificial fibres. Along with the Empire cut, over the years the sheath, mermaid, A-line, and trumpet shapes became popular.
Women's fashions moved away from the brash, daring style of the 1920s towards a more romantic, feminine silhouette. The waistline was restored, hemlines dropped to nearly ankle-length, there was renewed appreciation of the bust, and backless evening gowns, and soft, slim-fitting day dresses became popular.
On the other hand, different styles such as bias-cut, satin, Jean Harlow-style evening dresses and the casual look of Katharine Hepburn also became famous. [9] Paris designers such as Elsa Schiaparelli and Lucien Lelong acknowledged the impact of film costumes on their work. LeLong said "We, the couturiers, can no longer live without the cinema ...
In the 1920s, the camisa (blouse) and the saya (skirt) were used in conjunction to form what is known as the terno. [1] The terno is alternatively referred to as the Maria Clara gown. The inspiration for the terno came about due to American evening gowns more utilitarian, with diminished skirts and sleeves. [1]
A little black dress from 1964 worn by Anneke Grönloh at Eurovision 1964. The little black dress (LBD) is a black evening or cocktail dress, cut simply and often quite short. Fashion historians ascribe the origins of the little black dress to the 1920s designs of Coco Chanel. [1]
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