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Fashion in the 1950s saw a clear gender divide. While men and boy's fashion moved towards a more casual day-to-day style, women and girl's fashion prioritized elegance, formality, and perfectly matched accessories. Couture womenswear saw rapid change with new designers such as Cristobal Balenciaga and Hubert de Givenchy disrupting the overtly feminine silhouette popularized by Christian Dior while novel prints and colors marked a playfulness in fashion for both men and women.

Fashion is rarely contained neatly in one decade, and the popular look that dominated womenswear in the 1950s actually emerged in the late 1940s. When Christian Dior's "New Look" appeared in February 1947, it became an instant success and the nipped-in waist and full-skirted silhouette remained the leading style until the mid-1950s. As the decade progressed, the dominant silhouette became progressively straighter and slimmer, and as fashion began to look to the new "teenager" for inspiration, the elegance and formality of the early part of the decade began to lessen.

As the 1950s began, the initial resistance to the extravagance of the New Look had died down and the silhouette was entrenched in both women's daywear and eveningwear. Dior himself continued to produce designs that followed the feminine line even while incorporating new elements, like the structural collar seen in figure 1. While this shape remained popular until at least 1954, in his Fashion Sourcebooks: The 1950s, John Peacock describes how this figure evolved throughout the decade:

"from the comparatively early days of the 'New Look,' when the square shoulders and masculine details of the 1940s still lingered, through the ultra-feminine and luxurious styles of the mid-1950s - clothes with gently softened shoulderlines, tiny corseted waists, roundly padded hips and long, swirling skirts only eleven inches above the ground" (7).

Even as the silhouette evolved, its core style was seen in evening gowns, day dresses, and separates. A Givenchy dress from 1953 shows how the shape was restyled throughout the decade while remaining true to the nipped-in waist and full skirt (Fig. 3). The pea motif, along with the bright patterned dresses in Better Living magazine (Fig. 2), demonstrates a playfulness that emerged in pattern while the Charles James "Clover Leaf" dress (Fig. 4) and Balenciaga evening dress (Fig. 5) show the experimentation in construction that took place in the fifties.

However, while the look was ubiquitous, it was not the only look that rose to prominence in the fifties. In fact, fashion curator Daniel Milford-Cottam writes in Fashion in the 1950s:

"One particularly striking aspect of the decade was the emergence of stylish options. Two ladies could walk down the street in different outfits, yet appear equally modish, be their skirts full and narrow, or one in a form-fitting sheath and the other in a loose sack dress." (13)

He continues to explain that the idea of choice rather than following one specific style was relatively new in the 1950s. As the decade continued, these choices became varied as new designers such as Cristobal Balenciaga, Charles James, and Hubert de Givenchy introduced different silhouettes. In Costume and Fashion: A Concise History, James Laver writes, "As the decade progressed, clothing became less structured and straighter in cut" (258). Introduced by Chanel, Dior, and Balenciaga around the same time, the straight-cut suit, in contrast to the New Look, emphasized a woman's natural shape with the jacket hanging at the widest point of the hips, as seen in figure 6. In the latter half of the decade, sheaths - like the Givenchy suit in figure 8 - and high-waisted chemise dresses, introduced by Balenciaga in 1957, became popular. The Balenciaga suit worn by model Suzy Parker (Fig. 7) shows the swing outline that he favored.

While designers such as Dior, Balenciaga, and Charles James created beautiful couture pieces, the craze for sportswear continued. Claire McCardell, the American designer who rose to prominence in the 1940s, continued to produce her popular wrap-over dresses and also introduced pedal-pushers with matching tops (Laver 258). While overall, fashion in the 1950s prided elegance, young women turned to McCardell and other sportswear and less formal designs, like the sundress and swimsuit in figure 10. Perhaps one of the most enduring images of everyday fashion in the fifties is the "poodle skirt." Credited to Juli Lynne Charlot from California, these simple felt skirts were cut in a circle and could have any sort of embellishment, not just a poodle (Milford-Cottam 20). They were paired with tight-knitted twinsets and while much more casual than the haute couture coming out of Paris, these skirts still followed the line of the New Look with a defined waist and full skirt as seen in figure 9.

Though it became increasingly acceptable for women to wear slacks for some occasions, overall the fashion mood in the fifties leaned towards femininity and formality. This was especially true in eveningwear as the cocktail dress was introduced to the public. Worn to the new cocktail party, these dresses lay in-between daywear and evening gowns, falling at the length of a day dress but embellished like eveningwear (Fig. 11). For formal eveningwear, even as sheaths and form-fitting dresses became popular, the full-skirted dress remained the mode throughout the decade, like the highly embellished evening gown by Dior in figure 13. The relatively new strapless bodice was especially popular as the pared-down bodice balanced out the wide skirts.

No matter what time of day, throughout the decade, it was exceedingly important that a woman be impeccably turned out. This meant perfectly groomed hair, spotless makeup, and sets of matching accessories. This was encouraged through the glamorous fashion photography of the day (Fig. 14). Fashion historian Gerda Buxbaum writes in Icons of Fashion: The 20th Century, "The long years of deprivation during World War II brought forth a yearning for luxury and fashionable things, and women made a special effort to dress appropriately for every occasion; it was considered imperative that one's accessories matched perfectly" (69). Whether she was wearing a twinset and slacks, a poodle skirt, a sheath dress, or one of Dior's New Look styles, a woman did her best to ensure that she looked pulled together through her accessories and overall styling. Those infamous black-toed Chanel shoes (Fig.12) appeared at the end of this decade, after all.

Though he lived an astonishingly short life, James Dean had an undeniable influence on men's fashion in the 1950s. Starring in only three movies within one year, Dean was killed in a car accident at the age of 24 in 1955. But his portrayal of Jim Stark in Rebel Without a Cause (Figs. 21-22) left an indelible mark of men's fashion. Released after his death, Dean's uniform of a white t-shirt, jeans, and red jacket was easily and readily copied.

Despite his short career in film, the popularity of his Rebel Without a Cause character struck a chord with the new generation of young men. The Encyclopaedia Britannica writes:

"His character defiantly rejects the values of his elders while desperately aching to 'belong' and attempting to find a purpose in life. Dean's performance spoke eloquently on behalf of disenchanted, disenfranchised teenagers and gave them a hero they could respect and admire."

This hero status, along with similar feelings towards fellow actor Marlon Brando's characters in A Streetcar Named Desire and The Wild One, influenced young men's fashion as they emulated these characters (Buxbaum 77). Together, Dean and Brando ensured the rise of the white t-shirt, jeans, and greased back hair that was pervasive throughout the 1950s.

Although womenswear in the 1950s prided formality, men's fashion moved towards an informality it had not yet seen before. Though young women wore tight sweaters and sought clothes that suited her age, it was young men who really started the so-called "youth culture" of the 1950s. Since the rise of the suit in the 18 th century, men's fashion had seen little dramatic change until the rise of the Teddy Boys in Britain and the rebellious youths who looked to Hollywood stars Marlon Brando and James Dean in the fifties. Significantly, both of these styles were adopted or inspired by working-class men, rather than coming from the elite.

In the years after World War II, tailors on Savile Row in London introduced a slim cut suit with a velvet-collared suit that was referred to as the New Edwardian (Milford-Cottam 53). While it was originally elegant, upper-class men who wore these suits with narrow trousers, in the early 1950s, young working-class men began to adopt and adapt the style for their own purposes. Nicknamed "Teddy Boys" (Teddy being a nickname of Edward), these young men, seen in figure 15, wore extremely narrow trousers, velvet-collared jackets and greased their hair back into quiffs. While the style was popular and signified a certain type of rebellious young working-class man, it also signified a shift in the ability of the working-class young to consume. Laver writes:

"What was important in this development was not the adoption by the working class of an upper-class style, but the fact that young men from poor backgrounds could now afford relatively expensive clothes and accessories and had the confidence to make them part of their own distinctive style." (260)

The Teddy Boys were just one part of a rise in youth culture that was seen across both genders and on both sides of the pond.

As young men in Britain were looking to Savile Row tailoring, the youth in America - and in Europe, too - were looking to rebellious Hollywood stars and singers. With inspiration from Marlon Brando-in A Streetcar Named Desire (Fig. 16) and, popularizing the leather jacket in 1955 in The Wild One (Fig. 17)-James Dean, and Elvis Presley-promoting Jailhouse Rock in 1957 (Fig. 18)-young men in the US began adopting a working-class look of jeans, a white t-shirt, and leather jacket. Like their British counterparts, American men adopted the greased-back quiff hairstyle to go along with their casual look. This style was seen as a youthful rejection of their parents' generation, which earned them a rebellious and trouble-making reputation, much like that of the Teddy Boys in Britain. The clothes they adopted, in contrast to the elegant suits of their British counterparts, were items associated with the working-class: jeans had previously only been acceptable for farmers and other outdoor laborers, never for everyday wear.

Even as young men in both Europe and the United States began adopting new styles, formal daywear and eveningwear for men continued along the same lines throughout the 1950s. Suits maintained the baggy shape that had started in the forties, while skinny ties, like the one in figure 19, rose to prominence. The biggest change in men's formal wear was the increasing presence of color, as seen in the ad for the bright yellow Arrow shirt (Fig. 20). Tuxedo accessories such as ties and cummerbunds added a pop of color, while less formal eveningwear such as the smoking jacket might come in a color other than black. Color began to creep into daywear shirts and sweaters, as well (Milford-Cottam 48-51). The Hawaiian shirt, first seen in the late forties, continued to be a popular option for men throughout the fifties.

Children's fashion in the 1950s echoed the trends found in their adult counterparts. Young girls wore dresses with full skirts and perfectly matching accessories while young boys saw their clothing options becoming more casual. New synthetic materials, which were also being used in adult clothing, were increasingly used for children's clothes as they were easier to launder.

In previous decades, young boys had typically worn collared shirts, ties, blazers, and shorts until they were old enough to transition to long trousers. However, in the 1950s, like teenagers and young men, it became increasingly acceptable for boys to wear jeans for most occasions. It became rare throughout the decade for young boys to wear ties and collared shirts were abandoned in the most casual settings. Colorful and patterned short-sleeved, collared shirts were popular options for everyday wear (Fig. 23). Knitted sweaters and cardigans, popular in the forties, continued to be popular in the fifties as it became less common for young boys to wear jackets or blazers. SJ Stratford writes on Love to Know, "Although conformity was the guiding principle for everyone's dress, boys were able to enjoy a level of comfort and casualness that they hadn't before and that girls would not share for another few decades."

In contrast to this casual approach to boys' fashion in the 1950s, like their mothers, young girls' wardrobes prided formality and perfectly matched accessories. Primarily wearing dresses, these styles began by following the lines of the previous decade: natural waists, full skirts, and puffed sleeves. As the decade progressed, dresses became more varied and you can see options coming into play as they did in women's wardrobes.

Dropped waists (still with full skirts, like that in figure 25), smock dresses, pinafores, bold colors, and playful patterns all offered different styles. For less formal occasions, girls might wear a blouse and full skirt held up with suspenders (as seen on the right in figure 24) and covered in a matching jacket or cardigan. Novelty items like the poodle skirt (Fig. 28) were also popular, while sheath dresses and slacks became acceptable options later in the decade. Stripes, florals, plaids, rickrack (Fig. 27), bows, and more could all be found embellishing girls' clothes. Whether at a party or at school, these looks were almost always accompanied by white ankle socks and shiny black patent leather shoes and carefully styled hair perhaps adorned with a ribbon or two bows, as evidenced in the Sears ad in figure 26. At home, girls might have worn overalls or playsuits in casual settings.

Upon becoming a father himself, womenswear designer Charles James designed a line of infant clothes in 1956. The cotton playsuits, shorts, and dresses were simple yet finished with beautiful mother-of-pearl buttons and other luxurious touches (Fig. 30). But what made the line significant was its construction, as seen in the multi-piece sunsuit on the left in figure 31. The Met writes of the blue playsuit in Fig. 29:

"James considered all practicalities, designing this playsuit with curved, crossing straps, cut in one with the front panels, that fit to the body and stay in place, and with diaper-front shorts that open to lay flat for ease of ironing. Its curved fronts follow the lines of a child's rounded belly, while accommodating and hiding the bumps of diapers" (Playsuit, 1956).

The classic pieces come in reds and blues, show subtle nautical inspiration, and give a glimpse into luxury infant pieces from the decade.

References:

Bramlett, Lizzie. "Interview with Juli Lynne Charlott." The Vintage Traveler, April 28, 2010. Accessed May 29, 2019. https://thevintagetraveler.wordpress.com/2010/04/28/interview-with-juli-lynne-charlot/.

Buxbaum, Gerda. Icons of Fashion: The 20thCentury. Munich: Prestel Verlag, 2005. http://www.worldcat.org/oclc/773599428.

"James Dean." Encyclopaedia Britannica. Accessed May 29, 2019. https://www.britannica.com/biography/James-Dean-American-actor.

Ewing, Elizabeth. History of 20thCentury Fashion. 4th ed. London: B.T. Batsford Ltd, 2001. http://www.worldcat.org/oclc/456545252.

James Dean. "Biography." Accessed May 29, 2019. https://www.jamesdean.com/biography/.

Laver, James, Amy De La Haye and Andrew Tucker. Costume and Fashion: A Concise History.5th ed. New York: Thames & Hudson, 2012. http://www.worldcat.org/oclc/966352776.

The Met. "Playsuit, 1956." Accessed May 29, 2019. https://www.metmuseum.org/art/collection/search/767965.

Milford-Cottam, Daniel. Fashion in the 1950s. Oxford: Shire Publishing, 2017. http://www.worldcat.org/oclc/992690449.

Peacock, John. Fashion Sourcebooks: The 1950s. London: Thames and Hudson Ltd, 1997. http://www.worldcat.org/oclc/924866505.

The People History. "Vintage 1950s Children's Fashion Clothes." Accessed May 29, 2019. http://www.thepeoplehistory.com/1950skidsfashion.html.

Stratford, SJ. "1950s Kids Clothing." Love to Know. Accessed May 29, 2019. https://childrens-clothing.lovetoknow.com/1950s_Kids_Clothing.

Victoria and Albert Museum. "History of Fashion 1900 - 1970." Accessed April 30, 2019. http://www.vam.ac.uk/content/articles/h/history-of-fashion-1900-1970/.

Victoria and Albert Museum. "Introduction to 20thCentury Fashion." Accessed April 30, 2019. http://www.vam.ac.uk/content/articles/i/introduction-to-20th-century-fashion/.

Events:

1950 - Father of the Bride, starring Spencer Tracy and Elizabeth Taylor, is released. The lace wedding dress worn by Taylor in the movie is considered one of her most iconic books.

1951 - American disc jockey Alan Freed popularizes the term "Rock 'n' roll." New teen styles emerge linked to the music, such as "Teddy boys" and prom dresses.

1952 - Jack Kerouac publishes On the Road, which inspires a generation of beatniks who wear slim-fitting, black clothes, berets, and dark glasses. Audrey Hepburn's Funny Face in 1957 further popularizes the style. Balenciaga shows the sack dress, an early stylistic move toward looser-fitting garments, which appear in the late 1950s and 60s, and include cocoon coats and shift dresses.

1953 - Coronation of Queen Elizabeth II, and London couturiers including John Cavanagh, Victor Stiebel, and Mattli make ball gowns for guests at coronation balls and dances. The Wild One is released; Marlon Brando's representation of disaffected youth popularizes blue jeans and leather jackets. Pierre Cardin shows his first collection in Paris.

1954 - Easy-to-wash and easy-to-dry nylon twin sets advertised in British Vogue fashion magazine.

1955 - Rebel Without a Cause is released, launching its star, James Dean, as a style icon for the rising youth culture. His death a year later cements his legendary status. Stiletto heels are popular by the mid- 1950s aided by new technology. Ultra-thin, ultra-high steel heels could sustain great pressure in comparison to wood heels. Mary Quant opens her influential store, Bazaar, in London.

1956 - Movie star Grace Kelly marries Prince Rainier of Monaco in a religious ceremony, wearing a lace wedding dress designed by Helen Rose.

1957 - Jailhouse Rock, starring Elvis Presley, marks the spread of rock- and-roll style.

1958 - The youthful Yves Saint Laurent shows his first collection at Dior- Trapeze- after Dior's death in 1957.

1959 - Debut of Barbie doll, marketed as a "Teen-age Fashion Model." Lycra, also known as spandex or elastane, is invented. It revolutionizes performance sportswear and then fashionable dress.

To discover primary/period sources, explore the categories below.
Have a primary source to suggest? Or a newly digitized periodical/book to announce? Contact us!

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Fashion in the 1950s saw a clear gender divide. While men and boy's fashion moved towards a more casual day-to-day style, women and girl's fashion prioritized elegance, formality, and perfectly matched accessories.

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Discussion Prompt: Looking at this fashion, How are men and women's fashion during this time different? What is the overall look for women compared to men?

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Discussion Prompt: Looking at this fashion, How are men and women's fashion during this time different? What is the overall look for women compared to men?

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We live in a world in which convenience matters most. Now that many more people can work digitally, ... [+]
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Suburban life blossomed during the 1950s. In an era of conformity, the similarity of routine from one family to the next made suburban life particularly appealing; the kids had a back yard and a group of friends nearby, easily accessible by bike, the dads had a commuter train, and the moms had housework, coffee dates, lunch dates, dinner dates. Cities were beginning their long decline at about the same time and the suburbs seemed cleaner, safer, and more fulfilling to many families. Restaurants existed for special occasions, so no one worried if there weren't that many around. On the weekends, the dads barbecued and coached Little League. It all worked, seeming like an antidote to the war years with their chaos and uncertainty. The economy was expanding and jobs were not so hard to come by.

Suburban life depended on two assumptions which seemed immutable but which, as it turned out, were not: without the 9 to 5 workday and the stay-at-home mom, this seemingly idyllic picture began to fall apart. Perhaps the first cracks in the foundation came with the publication of Betty Friedan's "The Feminine Mystique", which uncovered how unhappy and unfulfilled many of the women living in these cocoons actually were. As feminism began to take hold during the 1960s and 1970s, and books like Marilyn French's "The Women's Room" increasingly undermined the myth of the perfect 1950s family, increasing numbers of women wanted (or needed) to enter the workforce. This sea change in American social life had a profound impact on housing. At the same time, workers in both blue and white-collar professions began to work longer hours. Suddenly, commuter life made less sense. Significantly, these changes occurred alongside the rebirth of the cities, which became cleaner, more vibrant, and more beautiful just as changing lifestyles were making the proximity they offered to the workplace more important.

Today, we live in the world which those disruptions of five decades ago merely hinted at. For the two-income family, with kids, demanding jobs, and long hours, the extra hour and a half or two hours of commuting time on each edge of the day can become untenable. If both commuter parents are working 9 AM till 7 PM each day, the family only gets together on weekends. These two fundamental changes in family organization, the extension of the typical workday and the likelihood that both parents are part of the workforce, undermine the structure which made suburban life work.

As real estate agents in New York City, we deal frequently with families who shoehorn themselves into small spaces even as their families expand. For many, the calculus is precisely that described above. While these couples understand that the same money which buys them a small two-bedroom on the Upper East Side (where many of Manhattan's best values can be found today) could get them a four-bedroom house with a backyard, they nonetheless choose not to leave town, understanding that in opting for more space they may well be choosing more stress and less family time as they log 400 or 500 hours per annum on the train, or on the bus, or in the car, traveling between home and the office.

We live in a world in which convenience matters most. Now that many more people can work digitally, we see a return not to the suburbs but to the exurbs and the country. The whole purpose of the suburbs was to live within commuting distance; if you can telecommute, you can pick your rural spot. But as more and more businesses discover they actually want their people in the office at least some of the time, workers increasingly choose between the country and the city. It's not so bad to live two hours away when you can do one or two days a week in town, crashing with a friend or family member if necessary. Suburban markets in the tristate area languish for a reason. For too many people, commuting life no longer holds much allure.

I am the CEO of Warburg Realty, a luxury residential real estate brokerage in New York City. I have been a salesperson, a Sales Director, and a Company Director in the v...

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We live in a world in which convenience matters most. Now that many more people can work digitally, we see a return not to the suburbs but to the exurbs and the country. The whole purpose of the suburbs was to live within commuting distance; if you can telecommute, you can pick your rural spot.

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Discussion Prompt: Why do you think in an age of fear, would suburban same looking lives be appealing to people?

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Discussion Prompt: Why do you think in an age of fear, would suburban same looking lives be appealing to people?

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vintage ads Archives | The Saturday Evening Post

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Discussion Prompt: What are the main themes or repeated imagery in these ads?

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Discussion Prompt: What are the main themes or repeated imagery in these ads?

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The Space Race: Timeline, Cold War & Facts | HISTORY

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The Space Race refers to the period of competition over space exploration between the U.S. and the U.S.S.R. during the Cold War.

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Discussion Prompt: Why do you think it mattered who made it into space/the moon first?

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Discussion Prompt: Why do you think it mattered who made it into space/the moon first?

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Discussion Prompt: What do you think the impact of having more cars available for the average person? Environmentally, Socially?

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Discussion Prompt: What do you think the impact of having more cars available for the average person? Environmentally, Socially?

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Mrs. America: Women’s Roles in the 1950s | American Experience | PBS

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American society in the 1950s was geared toward the family. Marriage and children were part of the national agenda.

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Discussion Prompt: Why do you think the "role" of women changed during the 1950s?

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Discussion Prompt: Why do you think the "role" of women changed during the 1950s?

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A Brief History of 1950's Makeup

A concise illustrated guide to 1950s makeup looks and cosmetic developments, featuring the key styles for women in that decade.

The age of makeup entered its golden age in the 1950's. For the first time, unknown models began to rival the big Hollywood names in becoming the 'face' of makeup brands.

In Britain Gala of London marketed a real sense of Haute Couture to their makeup range. However when conjuring up the 1950s makeup look it's difficult not to see the faces of those glamorous post-war beauty icons - Elizabeth Taylor, Natalie Wood, Marilyn Monroe, Grace Kelly, Audrey Hepburn, Doris Day, Ava Gardner, the list goes on and on.

1950's Makeup Tutorial

The Key Makeup Looks of the 1950's

The 1950's was a glamorous decade. Creams foundations and shadows were the in thing..It was the era of the 'mask effect'. A thick creamy application of foundation and flesh colored powders to set. Eyebrows still a natural look but more tapered and feminine. Rouges were less emphasized than in the 1940's. If there was a color to define the 1950's - it has to be pink. Pink hues in shadows and reddish pink lipsticks.

Grace Kelly - the classic 1950's face.

Foundation - A cream ivory base, and cream or liquid foundation near to natural skin color.

Powders - brushed on flesh colored powder to set.

Eyes - subtle shadows on lid - taped out to shimmering pale brow.

Eyeliner - the wing effect became popular in the 1950's.

Lashes - subtle and applied usually to the upper lashes.

Rouges - pastel and rose colors applied to the apple of the cheek.

Lips - many tutorials advised creating a 'smile' effect with lipsticks. Achieved by drooping.

Marilyn-Munroe-1950's-makeup-look

Mascara from brand leaders such as Maybelline was an imperative cosmetic to have in your handbag. Though it wasn't until the 1960's that women applied it again to lower lashes again [ as in the 1920's ]. Loads of newly patented cosmetic tools like eyelash curlers and eyebrow stencils helped young women achieve the look of whatever starlet took their fancy.

The Cat eye-line or the winged tip which defines the current retro pinup look - such a simple innovation, added real glamour to a girls eyes and was often preferred by women to a heavy eye shadow look.

For original downloadable 1950's makeup tutorials, as actually read by women in that decade, visit Vintage Makeup Guides.

1950's Makeup Products

The leading name today for vintage 1950's style makeup is Besame Cosmetics. Founded by Gabriela Hernandez, their beautifully packaged products celebrate vintage makeup like no other brand.

1950's Red Hot Lipstick

Marilyn Monroe's favorite shade is this 1950's red hot red lipstick. It's fire engine red color will bring out the bombshell in any woman. Like all their lipsticks, this is a true replica of a 1950's lipstick.

Gallery - 1950's Women Applying Makeup

Skin improvement cosmetics began to sell as fast as the old traditional 'face paint'. The consumer race was on to create the perfect youth preserving cosmetics. In 1949-50 Hazel Bishop unveiled to much excitement the first non smear lipstick. Revlon followed this with their own by own non-smear lipstick' in 1953. The ruling shades were pastels in the 1950's and pink lipstick replaced the reds for a time as the lip color of choice - especially among younger women. Audrey Hepburn once declared that she " believed in pink!" and who could argue with Audrey?

Gallery - The Makeup Looks of the 1950's

A much heavier makeup look for the face was in order with liquid foundations and loose powder appearing on dressing tables again. The eye shadow look of this decade was much more minimal than in previous decades, eye-shadows now containing shimmer and a huge palette of colors.
Revlon produced 'eye-shadow palettes' with two or three shades to create a specific look. A soft but definite eye line and eyebrows a slightly darker shade than the natural.

Gallery - Makeup Adverts of the 1950's

In 1954 Avon [ founded in 1886) launched their "Ding Dong Avon calling" campaign and became one of the longest running and most successful advertising campaigns in history.By 1957 there were over 100,000 Avon representatives.
Notable brands to appear in the 1950s included Biotherm (1952), Clarins (1954), Shiseido International ( 1957).
© 29/05/2013 - Stevie McGlinchey - Glamourdaze.com
Further Reading:
A Short History of 20th Century Cosmetics
History of Makeup - 1900 to 1919.
A History of Makeup - 1920s
History of makeup - 1930s
A History of makeup - 1940s
History of makeup - 1960s

A Concise Illustrated History of Fashion - 1900 to 1919
Concise Illustrated History of Fashion - 1920 to 1929
A Concise Illustrated History of Fashion - 1940 to 1949

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Further Reading:
Vintage Makeup Guides - The 1950s Look.
Lipstick and Curls.
Makeup Look from 1910 to 1950.
1950's Makeup and Beauty - Pinterest.
1950's Lipstick Masterclass.
Vintage Eye Makeup Glamour Tips of the 1950's.
Classic Beauty - The History of Makeup.
Duke Library - 1950s Makeup Ads.
Cosmetics and Skin

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The History of 1950s Makeup | Glamour Daze

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A concise illustrated guide to 1950s makeup looks and cosmetic developments, featuring the key styles for women in that decade. The age of makeup entered its golden age in the 1950's. For the first time, unknown models began to rival the big Hollywood names in becoming the 'face' of makeup brands.

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Discussion Prompt: Does the Makeup trends of the 50s highlight natural looking beauty? What affect do you think that this makeup trends will have on Americans?

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Discussion Prompt: Does the Makeup trends of the 50s highlight natural looking beauty? What affect do you think that this makeup trends will have on Americans?

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Decade Overview: The 1950’s in rock music history.

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1950’s The birth of rock and roll. An overview of the 50’s decade in rock and popular music history. Fifties music genres, stylistic development and social history are explored as rock music becomes a dominant force in popular music. Fully illustrated with vintage photos of the musicians who made it happen.

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Discussion Prompt: Rock and Roll Music is very out spoken compared to 1950s culture. Does this make you question about the reality of American suburban life? Was it what everyone wanted? 

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Discussion Prompt: Rock and Roll Music is very out spoken compared to 1950s culture. Does this make you question about the reality of American suburban life? Was it what everyone wanted? 

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1950s Dances

1950s-style dances are a true reflection of the evolution, innovation, and fun that characterized the era. With steps that evolved from swing, like the jitterbug and the bop, and moves that anyone could do, like the bunny hop and the stroll, the '50s dancing style is here to stay. Whether you are ready to rock to some oldies but goodies or are heading out to the nearest rockabilly joint, here are some styles you might want to try.

The Boogie Woogie

As a dance style, Boogie Woogie encompassed any kind of swing dancing done fast and was also called "Jump Swing." The Boogie Woogie was usually danced to blues and Boogie Woogie music with fast tempos. This type of fast dancing included jumps, hops, stomping, and even flying feet, all done at considerable speed.

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Elvis Presley, Jerry Lee Lewis and other popular singers of the time developed their version of Rockabilly by combining Blues and Boogie Woogie. In Europe, people still dance the Boogie Woogie, although it has become close to Jive and includes elements of both East Coast and West Coast Swing.

The Bop

The Bop dance style derivates from the Jitterbug and East Coast Swing in the 1950s. The 'Bop' term actually comes from Be-Bop, those fabulous jazzy tunes from the '40s; however, it was not danced to Be-bop but to much faster swing, rockabilly, and rock 'n' roll songs of the era like those of Bud Powell, Fats Waller, and Gene Vincent.

The Bop used many of the same moves as swing, including partners moving around each other, but was usually done with almost no touching and much, much faster. The Bop's more carefree, Charleston jumpy-like moves and independent dance style also encouraged dancers to go solo. English dance clubs were, and still are, filled with people doing the "Bop."

The Bunny Hop

The Bunny Hop became a classic party dance in the early 1950s. Originally, it was danced to the Bunny Hop by Ray Anthony, which came out in 1952 and include all the instructions for what to do. To do the Bunny Hop, all you need is energy to hop away and preferably some people to form a conga line with.

The Chalypso

Near the end of the '50s, American Bandstand came up with a name for the simplified Cha-Cha steps the teens were dancing to swing rhythms: the Chalypso. However, this dance style actually got its name from the string of Caribbean-inspired hits that took over the US by end of the decade. In 1956, Harry Belafonte released his Grammy-award-winning album, Calypso, and with the album's success came many more Calypso releases.

While Calypso songs were generally danced to with a mix of Rumba and Samba steps. Somewhere down the line, it got watered down and reinterpreted as simplified cha-cha by the youth. This fun and easy dance style was ideal for dancing to mid-tempo swing songs - not too fast, not too slow.

The Jitterbug

The term "jitterbug" was originated in the early '30s, and eventually, it came to be use as an umbrella term to refer to swing in general. Movies like "Rock Around The Clock," "Rock, Rock, Rock," and the "Girl Can't Help It" include Jitterbug dancing in them. By the late 1950s, youth began calling fast dancing by the name. It's easy to learn to do the Jitterbug.

The Jive

The Jive, like the Jitterbug, is a variation of swing dancing. Its origin is American, it has strong Latin and African American influences, and it is known for being fast and fun. The Jive is now one of the official Latin American dance forms in the competition arena, and it is danced the world over in rockabilly joints. More on the history of Jive dancing and detailed instructions here.

The Madison Line Dance

In the late 1950s and early 1960s, the Madison line dance gained great popularity. A simple-to-follow dance line and steps that were called for the dancers made it a huge success. The Madison craze spawned several recordings of songs specifically made for the dance with Al Brown's "The Madison" and Ray Bryant's "Madison Time" competing neck in neck on Billboard's Top 40. It was so popular that in 1988 the movie Hairspray featured the dance, and it has become one of those recurring features in movies and series depicting 1950s popular dances.

To do the Madison, the dancers stand in a dance line and follow the moves called by the song. It's easy and fun!

The Rock 'n' Roll

Rock'n'Roll dancing is actually swing dancing. East Coast Swing, West Coast Swing, Jive and Jitterbug, all came to be known as some type of Rock'n'Roll dancing, mostly thanks to the movie industry and the general media. So in reality, the music was Rock'n'Roll, and various forms of swing were used to dance to it.

Some famous Rock'n'Roll songs include "Be Bob a Lula" by Gene Vincent, "Tutti Frutti" by Little Richard, "Rock Around the Clock" by Bill Haley, "Johnny Be Goode" by Chuck Berry, and "Great Balls of Fire" by Jerry Lee Lewis. Some of the movies that helped cement swing as Rock'n'Roll include "Rockin' the Blues," "Don't Knock the Rock," "Rock, Rock, Rock!," "Jailhouse Rock," "The Girl Can't Help It," "Untamed Youth," and "Carnival Rock." Here's a taste of swing passing off as Rock'n'Roll:

The Stroll

The Stroll was a staple at most dance halls in the 1950s. This stress-free line dance was fun and easy back then, and dancing the Stroll is just as easy today. It's a great way to show off your best dance moves.

The '50s Are Here to Stay

The fashion, the fun dances, and the energetic revolutionary music of the '50s makes it a cherished time for many. Try dancing 1950s style and rock the night away with these moves to capture some of the magic of the era!

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1950s-style dances are a true reflection of the evolution, innovation, and fun that characterized the era. With steps that evolved from swing, like the ...

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Discussion Prompt: What is your favorite dance from this period and why?

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Discussion Prompt: What is your favorite dance from this period and why?