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Dior's 'new look' consists of a very cinched waist, a full skirt underneath and round shoulders.
This 'new look' came right after the war, in which people were overwhelmed with military uniforms and many restrictions in all aspects of life. In 1947, Christian Dior introduced this very feminine (for the time) look, which attracted a very big audience while also influencing other practitioners.

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Source: Vogue, Jnauray 1961, by William Klein

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This was a painting done by Van Dongden in 1961.He goes on to paint celebrities of Paris between the two world wars. I find his work very elegant and interesting as they’re so simple yet still detailed within the face.

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Christian Dior in Vogue Paris 1947 next to similar designs of the time

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Christian Dior in Vogue Paris 1947 next to similar designs of the time

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Christian Dior - New Look - Illustration

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Christian Dior - New Look - Illustration

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This dress was made by Molyneux. In 1961 her son became president of the US and she wore it to the Inaugural Ball. It was a sheath dress which became very popular in 1961. It was made of a white net and had gold and silver paillettes. I really like the look of this dress as its so elegant and detailed which fits in perfectly with her status.

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Source: Vogue, October 1961, David Attie

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This style of chair (Sling chair) was very popular in the 1960’s and they would usually be made of leather as well. I really like this style of chair as I love vintage furniture. As its made out of leather I find it gives it a more professional and smart look.

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Source: Vogue Balenciaga house model Taiga wearing an ensemble by Cristóbal Balenciaga, 1962

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Balenciaga uses great inspiration from Spanish fashion and you can see that evident in this dress with the fabric collected around the waist as this is a style that was widely used in Spain. The sequins on the dress makes the dress more glamorous and more of an evening attire.

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Source: Cristóbal Balenciaga, Paris, 1961. Photograph by Cecil Beaton, 1971

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Balenciaga's Spanish heritage is evident and has inspired most of his iconic looks. This dress clearly shows this from the garment itself to how the model is posing.

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Source: Vogue Balenciaga 1961. Photo: Helena Bonnevier / Courtesy of Nordiska Museet Stockholm

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The dress of the left is a winged evening dress made in 1961. The other two dresses were made in 1957 and 1941. This dress was apart of an exhibition in Stockholm called "Paris of the North" were it presented fashion around Parisian Haute Couture.

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Source: Vogue Cristóbal Balenciaga, Paris, 1962. Photograph by Cecil Beaton, 1971

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This 1962 dress also represents his Spanish heritage with the top half being made out of black lace but makes it into a more evening look by adding the long skirt part of the dress.

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Mondrian Inspired Collection - Photograph by Louis Dalmas

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In the year of 1965, Geometric shapes and seams was a favourite for many designers. Imaged is a dress designed by YSL. Inspired by Piet Mondrian, a Dutch artist who is most famous for his abstract paintings. Not only did they use geometric shapes on the textile side of the design, the actual dress is made using an angular and essentially boxy structure. It's an interesting concept. Because at the time the Vietnam war (1955-75) was a very prominent subject in that days society. People perhaps might have felt a lack of structure in their lives, if not an overwhelming surge of structure in their day to day life due to the war. So for that structure to place itself in a creative way in the fashion industry is really interesting. The use of colour as well takes the structural concept from serious note to something playful which I think is a very clever approach.

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In this design sketch you can see the boxy structure I was referring to in the first slide. Because of this chosen shape the dress tapers inwards which gives the wearer a little bit of shape.

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Designs in the collection with colour and fabric samples.

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Source: AnotherMag.com. Missoni's first show in 1966. Held at Teatro Gerolamo.

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Post War Italy had an inner conflict. Many of its cities were vying to be the fashion capital of the counrty. At this time, Florence and Rome were the big two. Missoni held this show in Rome and surprised press with their amazing use of colour and knitwear. Creating stunning ready-to-wear pieces that were an immediate success. Another, more controversial show was held in 1967. These shows created a lot of buzz for Missoni and placed Milan on the fashion map. It could be argued that without Missoni, Milan would not be the fashion capital it is known as today.

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Source; FashionTextileMuseumBlog. Missoni three-piece swim outfit from 1968. 

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The ZigZag pattern was something that made missoni's clothing instantly recognisable. After a playsuit that sported the pattern was featured in Grazia Magazine, It instantly became one fo the most fashionable textiles. Still being recognisable to this day. Colour is used in a very unique way here with Ottavio paring many colours that would conflict usually however with the pattern and other supporting colours. He strikes a lovely balance.

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Source: FashionTextileMuseumBlog. A collection of Missoni outfits from the 60's & 70's.

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Colour was a key feature in missoni kknitwear. With Ottavio being rtesponsible for mixing the watercolours and guaches in order to select colour for the knits whilst his wife rosita was responsible for creating the clothing itself. This collection shows how well the two used colour through weaving them in different combinations to create bold and daring combinations that have become synomymous with 60's fashion.

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Source: Vox, 2017. The origin of the '80s aesthetic. [video] Available at: <https://www.youtube.com/watch?v=TCI8lPvr6SM>.

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This is definetly how I perceive the '80's style' - brightly coloured neon and lots of lycra. I can see why the arrival of the big 3 had such an aesthetic impact on fashion, they brought a completely stark contrast.

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Kawamura, Y., 2004. The Japanese Revolution in Paris Fashion. London: Berg, pp: 125-126

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Japanese Fashion Revolution in the 1980s

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Japanese Fashion Revolution in the 1980s

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The early 1980s marked the arrival of Rei Kawakubo, Issey Miyake and Yohji Yamamoto (also referred to as 'The Big 3') in the Paris fashion world. Their signature style "characterized by monochromatic, asymmetrical and baggy looks" was completely different from clothing at the time.

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Source: DazedDigital. Featured: Stevie Stewart (left)  and David Holah (right).

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Stevie Stewart and David Holah founded Bodymap in 1982 while they were fashion students. It began on a stall in Camden Market which gained interest fast. They were heavily inspired by the London club scene and punk culture.

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Source: ID Magazine, 80s, London, Vice Media. Photographer: Nick Knight.

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Bodymap featured in ID Magazine. One of ID's early publications, which featured a 3 page spread on Bodymap and their unique style of clashing patterns and layered outfits.

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Source: Vogue, 2018, Brooke Bobb. Featured: Boy George.

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I love this shot of Boy George walking for Bodymap's Spring 1986 collection. I feel as though it really captivates the essence of Bodymaps' gender bending aesthetic, and how they could create collections that fit into everyday wear, that still had the essence of club culture.

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This interview with Stevie Stewart and David Holah with V&A really gives a deeper look into how Bodymap helped shape the 80's fashion industry. I personally really love their approach to catwalks, and how they created an experience opposed to just a show.

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In 1987, Christian Lacroix presented his first haute couture collection under his label. This Autumn-Winter collection featured bold silhouettes and rich colours, creating an air of decadence. Due to his reputation, it was a highly anticipated show and was well-received by all who saw it. Before launching his own label, Lacroix was a designer at Jean Patou, helping revamp the fashion house.
https://youtu.be/m79RLVfxRns

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Christian Lacroix Haute Couture Automne-Hiver 1987

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One key feature seen in a lot of Christian Lacroix's designs was the use of poof. Whether it was in a wide skirt or with a pouffe/puffball element. This puffball was created from the combination of two silhouettes from the past; the thigh-high mini skirts of the 60s and the many petticoated layers of the 50s. It got its name from the extravagant, towering french hairstyle from the late 18th century. This dress features a front pouffe over a wide skirt, most likely supported by a crinoline. Combined with a skin-tight sheer bodice, and a jewelled bandeau, the final look is expensive. The bold, almost garish print choice from Lacroix is another key feature of his work, many of his pieces having almost clashing colours or prints.

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This dress is another prime example of the iconic first collection. A bold mix of prints combined with pleating and voluminous pouffes.

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Vogue's View: A Colorful Life Bowles, Hamish. Vogue ; New York  Vol. 182, Iss. 10,  (Oct 1, 1992): 134, 138, 144
This article goes through some of Christian Lacroix's influences and work. It mentions colour usage and past collection designs from before the opening of his own label.

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Source: Vogue L'uomo Feb 1987, "Da Parigi: Post-Modern". Shot by Nadir

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These looks feel more wearable although the 30s hobo look is still coming through. Again with the checked trousers on the left, feels like something you'd see a patchwork clown wear.

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Source: Vogue L'uomo Feb 1987, "Da Parigi: Post-Modern". Shot by Nadir

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Can't help but feel like I'm looking at a 1920s/30s circus owner: feels like this was shot in sepia. The baggy trousers and loose-fitting jacket, with lace ups akimbo pointing outwards, gives him a New York hobo look and feel.

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Source: Vogue L'uomo Feb 1987, "Da Parigi: Post-Modern". Shot by Nadir

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Surprised by how modern this looks considering nearly 35 years ago. The look overall feels very avant-garde, and the photography sets this apart from the generic 'Polo Ralph Lauren'/'happy family' style of the other ads and editiorials in the same issue.

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Source: Vogue L'uomo Feb 1987, "Da Parigi: Post-Modern". Shot by Nadir

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Loose fit to this suit echoes the hobo look. The cravat and wing tip collar also reaffirms the 1930s influence, like a blackjack dealer on a riverboat.

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Source: Vogue L'uomo Feb 1987, "Da Parigi: Post-Modern". Shot by Nadir

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Love this look. Feels like a 1950s greaser, with the white lapels and t-shirt, and matching white trousers and leather shoues. A bit more sophisticated than the other looks but the baggy pants are a consistant theme here too.

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Source: Vogue L'uomo Feb 1987, "Da Parigi: Post-Modern". Shot by Nadir

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This picture in particular feels like this is Yohji's interpretation of tailoring and menswear. While still formal and with a complimentary fit, it feel like this is his own version of silhouette: the trousers are overly baggy and the shirts also. The suspenders are again a theme of the 1930s styling, and I can't help but feel like the flowers are a bit like the water gun flowers clowns wear and spray at you?...

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Source: Salazar, L. (2011) ‘With my eyes turned to the past, I walk backwards into the future’, in Salazar, L., 2011. Yohji Yamamoto. London: V&A Publishing.

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In a short essay within her book dedicated to the fashion of Yohji Yamamoto, Ligaya Salazar references "one of Yamamoto's greates sources of inspiration", the images from photographer August Sander. In his collection, "People of the Twentieth Century", Sander exhibit various photographs taken over his 40+ year career. The image entitled "Gypsy" (c. 1930) is featured in Salazar's essay as it represents the vintage and worn style of clothing Yamamoto tries to achieve in his design, as the artist believes that true beauty lies in imperfection.

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Found in vogue 1992. Shows a snippet into some of azzedine alaïa’a garments during this time. The skirt and jacket are both his which have a more rocker vibe to them especially with all the other accessories which differentiates from his other garments during this year which were a lot more girly and feminine.

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Azzedine Alaia illustration (Evie Jennings)

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Azzedine Alaia illustration (Evie Jennings)

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Found this in Vogue 1992. The bra shown is Azzedine’a garment which I feel reflects a lot more the feminine feel of his garments during this time.

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This was found in Vogue 1992. The whole garment shown here is by Alaïa and it really emphasises his signature details during this time which focused on being more tailored and feminine. His work hugged the figure to create a delicate silhouette and this clearly shows that.

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The society around the years of 1991-92 were very much about looking your best, having a slim frame and a pretty face even if this was achieved by surgery or in an unhealthy way.

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Cindy Crawford was a huge super model during the 90s. She was the ideal woman that most people aspired to look like. She was seen wearing lots of designers garments.

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Fall/Winter 1992/3 Milan
The fashion show gave a really good idea about the style of the 90 Vogue said, “Getting strapped required eight hands.” These high-maintenance looks were meant to be seen, not in a dungeon somewhere, but on the red carpet, where they absolutely dominated.
-the show consisted of black leather/ blazers/ army style uniform/ quilted jackets/ belts/elements of punk, harnesses, studs, embellishments, gold pockets and collars and tassels.

The collection showed pastels and contrasted with heavy leather, in my opinion some pieces could be shown back to back and could look like there not part of the same collection, but i suppose this was the whole point, it makes you look twice at the clothes and try to pick out the small details that show up in other pieces in the collection as well, for example the shoulder pads, large buckles or just details of gold in the garments, buttons etc…

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Here is another piece from the collection,
Just by looking at it you can tell it’s a 90s piece
Giannis characteristics in his design are showing through strongly, bold colours, frills and tassels, and gold elements like buckles and belts etc

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-he was an Italian fashion designer bad business man and Founder of Versace (international luxury fashion house)
-he was known to be one of the first designers to link fashion to the music world

He was introduced to the fashion World from a very young age after watching his mother close as she was a seamstress he was grown up in that environment
He gathered his inspiration through walking among the area in which he lived he would walk around ancient Greek artefactsAnd Roman ruins this later on that would spiral his inspiration for later designs

‘Fashions last emperor’
‘This book details his life and times, describing how he rose from humble beginnings to head a multi-million dollar fashion empire’
“ by the turn of the 1990s, he was at the height of his career, he had worked hard and achieved wealth and fame.”

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Blazers and shoulder pads very popular aswell
The gold accessories showing through yet again

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Book source

https://prism.librarymanagementcloud.co.uk/brighton-ac/items/664296?query=Versace&resultsUri=items%3Fquery%3DVersace%26facet%255B0%255D%3Dsubject%253A%2522Fashion%2Bdesigners%2BItaly%2BBiography%2522&facet%5B0%5D=subject%3A%22Fashion+designers+Italy+Biography%22

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‘92’ fashion trends -big screen, big hair, big colours
-high waisted jeans black leather belts with heeled boots and a sleek blazer
-black Aline leather mini with white blouse and a blazer with embellished lapel
-voluminous  hair, red lips and statement earrings
-baggy cotton drill trousers/brown leather belt, and chunky black lace up doc martens
-embroidered waistcoat

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https://www.90sfashion.com/1992-fashion-trends/

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1992 Fashion: Our Favourite Trends of the Year - 90s Fashion World

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Welcome to the year 1992! You’re going to like it here. Packed with fashions and styles you just totally forgot about. See more inside!

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1992 Fashion Trends: Big Screen, Big Hair, Big Colors

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‘ANTI FASHION’  1992/3

This movement was described ‘like a nuclear explosion’
Aspects of this movement/trend…
-holes and tears
-proportions/disproportions
-unfinished clothes
-more about sculptor than clothes design
This lead onto the grunge movement and saying ‘onto having to look good’
The Antwerp 6 came into the spotlight amongst all this going on.
Key artists : Rei Kawakubo
-yoshi Yamamoto
-martin Margiella
-Ann demeulemeester
-Jill sanders
-Raff Simmons

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Source
https://www.dazeddigital.com/fashion/article/40934/1/anti-fashion-maison-martin-margiela-belgian-designer-documentary-rei-kawakubo

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The temperature has dropped almost three degrees, last night it rained for the first time in approx. eighteen years, and the end of the heatwave that has ravaged the entire world is in sight (at least for this year). It's not long until the nights start drawing in, wearing entirely black outfits is once more acceptable, and all semblance of an actual life is swapped for long stints in the company of Netflix. With that in mind, we've uncovered a 2012 fashion documentary that needs to be on your must-watch list when drinking rosé in the park is but a hazy, distant memory. Or, you know, you can watch it now if you like.

Telling the story of the rise of 'anti'-fashion as it infiltrated the catwalk in the early 90s, the hour-long film - aptly entitled Anti-Fashion - is a bonafide treasure trove of archival and little-seen footage (we'll ignore the fact the AI-esque voiceover is more than a little jarring). Documenting the works of Helmut Lang, Rei Kawakubo, Yohji Yamamoto, and Hussein Chalayan, it also features interviews with Ann Demeulemeester, Rick Owens, and Raf Simons, as well as London's very own enfant terribles John Galliano and Alexander McQueen. And that's before we've even gotten started on another amazing moment in which some sullen, moody teens discuss their thoughts on another anti-fashion movement: grunge.

Amongst all that, though, there's one particular clip that really caught our attention. Shot in the late 80s in Jean Paul Gaultier's Paris atelier, according to the team behind the documentary it features an appearance from Martin Margiela. At the time, the elusive designer was working as Gaultier's assistant, and the footage in question sees him sorting through a pile of shoes, and holding up garments for his mentor's approval.

"At the time, Margiela was working as Gaultier's assistant, and the footage in question sees him sorting through a pile of shoes, and holding up garments for his mentor's approval"

Later, there's another brief glimpse of the Belgian iconoclast, this time backstage at his 1992 Salvation Army-set show, as well as video footage from a later presentation which saw Anna Wintour and Carine Roitfeld jump on the Paris Metro and head to Margiela's squat-cum-art-studio to watch a Super-8 video of his new collection - with cheap red wine in plastic cups offered as refreshment.

Given his policy of anonymity and the fact there are less than a handful of images of Martin on the internet (and not one of those has been confirmed or denied by the Maison as legitimate), it's still not 100 percent certain that Gaultier's assistant is definitely him. But, following the news that the designer himself is involved in an upcoming documentary unpacking the mystery of the house, perhaps it won't be that long until we find out for sure.
Watch Anti-Fashion on M2M's fashion video network here.

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The fashion doc featuring 90s footage of Rei, Yohji, and Martin Margiela

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The temperature has dropped almost three degrees, last night it rained for the first time in approx. eighteen years, and the end of the heatwave that has ravaged the entire world is in sight (at least for this year).

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CHOMP CHOMP/ CHESTER PERRY: MID 1969-1971

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CHOMP CHOMP/ CHESTER PERRY: MID 1969-1971

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Massimo Osti started making t-shirt designs for a company called ‘Chomp Chomp’ where he experimented with graphic design and prints. He then started creating textiles so started Chester Perry Company, which later became C.P. Company after a lawsuit with Fred Perry, where he could design and create textiles. He combined his knowledge of graphic design and talent for garment making to birth an iconic company

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Osti launched the first new fabric called Tela Stella, a softer military style fabric with a stone washed finish.This two tone fabric was the beginning of Massimo Osti’s world renown garment engineering. From 1982 he created Raso Gommato (a dying technique), JJ23 (a raincoat fabric) and thermofabrics such as knit and waterproof material.

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This video takes a look at Muglers work throughout the 80’s and shows an evolution of his work on runways and shows that portray his design concepts not only with models but the work put into the stage-work and performance

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Pat Cleavland modelling for Thierry Mugler in his 1984 10th anniversary collection. Mugler is known for ethereal and sci fi themes in his work with religious themes also involved in some of the designs. In this image Cleavland represents the mother Mary who appears suspended from the ceiling onto the stage in a cloud of smoke in the fashion show, giving an insight to how Mugler can design something that can while also working it into art performance.

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Naomi Campbell walking the runway for Mugler Fall/Winter 1989-1990

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Mugler worked a lot with corset design specifically when combined with futurism and sculpture. A well known piece by Mugler is the ‘motorcycle corset’ in 1992, two years after this piece was released on the runway, this is a good introduction to the following collection in ’92 with the strong silhouette of a metallic corset without as close of a resemblance to a motorcycle or vehicle. This shows an evolution is his work in relation to his interest in corsets and costume.

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Jerry Hall in Armani's spring 1980 collection runway show.

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Power dressing was something that surfaced in the 80’s and became a major influence throughout the fashion industry by introducing femininity into what was considered mens clothing, this contributed to the beginning of androgynous wear and what the fashion industry is today. Theirry Mugler regularly challenges the idea of gender roles by empowering sexuality and femininity in his work now and back in the 80’s.

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Osti would create one of his most iconic silhouettes after taking inspiration from a Japanese Civil Defence that he had in his collection. It was a hood that had lenses built into the fabric that could be worn as protective gear, he went on to create a military style jacket with these lenses built into the collar/hood which, little did he know, would be the signature for his company and is still recognisable today.

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My fashion illustration is of a duo chrome waterproof from SS2018, this pieces how far his garment technology has come and that Stone Island still has that individuality and isn’t always just a patch on the arm.

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https://www.complex.com/style/2018/02/stone-island-shadow-ss18

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Stone Island Shadow Project SS18 Lookbook Features Bold Colour & Prints

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Stone Island presents Shadow Project SS18 lookbook.

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menswear:
- work wear
- practical
- cropped menswear (cut to sit on the hips)
- baggier suits
- slim ties
- white shirts/t-shirt’s
- sneakers
- high waisted baggy but tapered trousers

Osti definitely took inspiration from the workwear aspect looking at that applying more of a fashionable design and innovative textile to a practical garment.
https://vintagedancer.com/1950s/mens-1950s-clothing-history-casual/

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Part two of our look at men's 1950s clothing and fashion leaves the dull grey of the workplace behind and enters the vibrant casual clothing world. Read part 1 about men's 1950s business attire here.

During the '50s, leisurewear for men became very popular. Instead of wearing three piece suits all day long, men would dress for business in the morning and quickly change once they returned home into more comfortable clothing. For labor workers in a uniform, many employment offices now had lockers so men could change into street clothes before heading home. Naturally on the weekends men wore casual clothing fit for whatever task they had: lounge clothes for at home, sport clothes for playing or viewing sporting events and swim clothes for the beach.

None of this is new information. Leisure clothing has been established since the 1920s. What sets 1950s men's casual clothing apart is the sheer variety of options, the bold splash of colors and the overwhelming use of new textures and materials. The cost of clothing plummeted after the war. New synthetic materials made clothes easy to wash and wear and the movies helped spread new fashions faster than ever before. For both men and women, the 1950s gave them options, lots of options, to wear anytime of day. The diversity was most prevalent in casual clothing.

1950s Men's Clothing: Sport Coats

Even though men no longer wore formal business suits outside of the office, they still wore suit coats that mimicked the design. Sport coats and blazers had the same natural shoulder, straight hanging fit, two button single breasted fronts and flap pockets with side vents. Most 1950s sport coats also came with four button cuffs, an element seen on business suits as well. What was different were the variety of colors and materials. For business, sport coats came in dark colors and small patterns like checks and subtle plaid. For leisurewear, the colors exploded into hunter green, burgundy red, slate blue, and charcoal grey in winter or bright blue, emerald green, silver grey, ivory, tan, teal blue and mustard yellow in summer.

Solid colors were hardly ever just solid. They usually had subtle patterns of stripes, plaid or check. Others had rough textures of nubby tweed, blanket cloth or corduroy. Corduroy was a major trend in the mid '50s. Everything came in corduroy, and it came in every color imaginable. By 1957, subtle patterns were out and big patterns were in. Large plaids, big checks, deeper textures. contrasting leather elbow patches, buttons, and collars were also added. Inside the jacket was not ignored. Sport coat linings were often big plaids and bright colors. Something flashy was part of every sport coat design.

Another popular material in the mid 1950s was the jersey. Its smooth finish contrasted nicely with textured pants. It offered quite a bit of stretch as well, making them remarkably comfortable. Jersey could be worn year round, but the most popular option for summer was Indian madras. It was a very lightweight, breathable, loose cotton weave made in colorful plaid prints (the print is on both sides of the fabric). It has a slight wave texture as well. Texture+plaid was the perfect pairing for 1950s summer. The materials was used heavily in sport coats but also pants, shorts, shirts, and ties. Authentic madras was not inexpensive. Cheaper cotton and synthetic blends came in printed plaids that imitated real madras.
Shop classic 1950s style sport coats
1950s Men's Clothing: Casual Pants

To contrast with colorful, textured sport coats, men's casual pants/trousers/slacks came in just as many if not more varieties. The general rule was to wear a textured sport coat with smooth pants or textured pants with smooth sport coat. The same with colors. Patterns on top meant solid color on the bottom and vice versa. To much texture or print was considered tacky. Matching top and bottom colors was also "too formal" for leisurewear. Colors were almost always mixed.

1950s men's slacks were often made of polyester, linen or a light wool. They had no pleats and were close-fitting at the natural waist so that no suspenders needed to be worn. They zipped up the front with a button closure at the top. A single pressed line down the front created an illusion of height. They were slightly slim in the leg, more so than suit pants anyways, and often tapered a little bit at the bottom. They had side welt pockets and usually small cuffs at the hem.
Shop 1950s style men's pants
While most pants had belt loops and were worn with a thin leather belt, some styles had a continuous waistbands. These loop-less designs extended straight up the pant. While no belt was needed, they were prone to falling down. Some slack varieties had belt backs or bits of elastic on the sides to cinch in the waist and keep them up. Remember, they fit quite high on the waist, too, just under the ribs where a little belly helped keep them in place.

By the late 1950s, men's slacks narrowed in the leg even more and also lowered on the waist to the level of the belly button. The sharp crease down the center of the leg was still present but much softer. Pastels were popular summer colors.

1950s Men's Shorts
"Don't forget to wear them knee length so you don't look like a fugitive from a baseball game. With them you'll want knee-length socks in contrasting designs. The shoes of course should be moccasins or sports style. And wear these shorts with a swagger, lads. This is a fashion with the comfort men have been waiting for so long, and now,-in its many forms- it has entree anywhere." Esquire, 1956 August
Men's 1950s shorts were not a new invention but they certainly gained mass market appeal starting in 1949. Beach and sport playing were the prime reasons men wore shorts prior to the 1950s. Now it was all about casual fashion. The most popular style of short was the almost knee length walk (walking) shorts, known as Bermuda shorts today. They fit like men's slacks, without pleats at the waistband and hung straight down to an inch or two above the knee cap. They came in plain colors as well as plaid, seersucker and stripes in cotton, linen, madras and even flannel. Some had back belts and most were worn with a contrasting fabric belt.

Shorts were hardly ever worn without a pair of knee high socks, usually in bold patterns such as the classic argyle. Plain colors were OK, too. Paired with a slip on pair of penny loafers or moccasins, a man was set for a round of golf, a walk to the park, a day at the seaside, or gardening in his own backyard. Some fashionable men in flannel shorts worn flannel shorts to dinner paired with a sport coat, shirt and tie, especially in seaside resort towns.

Short lengths changed little for most of the decade, but some specifically designed for athletic wear were even shorter. I call them men's short shorts. : ) They hit about mid thigh, worn without a belt and made of a sturdier cotton twill. The provided maximum freedom to move and breathe and play a great game of baseball, tennis or soccer.

Swim shorts were even shorter than sport shorts with flat or gathered elastic waistbands, zipper fly or side buttons and sometimes a small flap pocket on one side. It was quite common to buy swim shorts with a matching button down sport shirt, worn open. The brief (aka Speedo) style swim-short was another swimsuit option. Read more about men's 1950s swimwear here.

1950s Men's Casual Shirts

I have already written a detailed article on men's shirt styles here. There were so many different styles of casual shirts for both winter and summer that they need their own article. In general, men's casual shirts came in a few varieties: button down, knit shirt, T-shirt, Hawaiian shirt, and shirt jacket.

The button down shirt was a year round style in both long and short sleeves. Shirts came in plaid, plaid, plaid, and more plaid. Solid colors, too, but mostly just plaid. Heavy plaid fleece or wool blends for winter ( Pendleton still makes them just like the '50s cut) and light cotton or madras in summer. Most button down shirts came with either a high button collar like a dress shirt or an open neck collar. Two chest pockets with button down flaps mimicked the western look, also a button down style of shirt. Pockets could also be patch with no flaps. Besides plaid, pastels were common (pink, yellow, teal blue) as well as abstract prints, small checks (gingham) and vertical stripes.

The Hawaiian "Aloha" shirt was a classic button down shirt made of cotton and printed in abstract tropical designs. It could be worn tucked in but when paired with casual pants and shirts was left untucked.

Men's 1950s knit shirts resembled a modern day polo except the collar was much wider and contrasted with the shirt body. Some knit shirts buttoned with a single button at the neck, while others had two buttons on a placket. A few styles had a lace up placket instead of buttons- a carry over style from the 1930s. Most were pullover styles with a gathered waistband worn tucked and sometimes not tucked into pants.

The T-shirt was less common among men than it was with youth. It was made of a jersey knit and a high round collar that sometimes came in a contrasting color (modern day calls them ringer T's). They usually had one patch pocket on the chest. Some T-shirts had novelty prints on them, but most men wore them in plain colors. They were reserved for active sportswear.

Shirt jackets were a blend between the button down shirt and a long sleeve lightweight jacket. It was mostly a spring or fall item when the weather was too cool for short sleeves but too warm for a lightweight button down shirt. They featured a wide pointed collar worn buttoned or tied with contrasting panels of stripes, checks or other western inspired print. They had one patch or flap pocket on the chest and an elastic waistband to keep the cool wind out. Sleeves buttoned at the cuff. The overall look was again inspired by men's western wear. We will look at men's and women's western wear in a future article.
Shop 1950s style men's casual shirts.
1950s Men's Sweaters

Men's sweaters increased in popularity in the early 1950s. The casual nature of the times combined with better indoor heating and AC meant men could replace jackets with a light pullover sweater or button up cardigan instead.

While many women continued to hand knit sweaters, improvements in knitting machines made machine made sweaters more affordable. Thanks to new synthetic fibers sweaters were now thin, soft and non-shrinking. For those that could afford it, Cashmere, Alpaca and lambs wool were the best natural fibers. Sweaters came in three weights: flat-knit was the lightest stitch, Shaker knit was a medium rib stitch and a shell stitch was thick and fancy. Most sweaters had ribbed necklines and wide rib cuffs. The fit was straight and slim just like jackets.

The sleeveless V-neck sweater vest was popular with conservative men. The vest replaced the waistcoat of a 3 piece suit. Worn in plain colors over a dress shirt and tie, it was appropriate for business wear yet added a touch of casualness men desired. Varieties that came in bold patterns were worn over open neck sport shirts for a casual sporty look both on and off the golf course.

Button up cardigan sweaters were still classics for casual dress. The low V-neck styles could also be worn under a buttoned up suit coat or sport coat without showing, adding a layer of warmth.

On high school and college campuses (but worn by post collage age men as well), the letterman cardigan sweater or V-neck pullover called an "Award Sweater," "Letter Sweater" or "Varsity Sweater" was an athletic man's uniform. The large felt white or gold block letter on the left side represented the school name. Additional letters, stripes and symbols were sewn onto varsity sweaters or varsity jackets to specify the sport, year or position on the team. Letterman sweaters were a symbol of social rank in school and a nod to the past for grown men. They have become an icon for 1950s fashion thanks to many movies about life in 1950s high schools such as Grease. Shop letterman sweaters and jackets.

For winter wear, the pullover sweater (sometimes cardigan style) was knit with large stripes, color blocks, and Scandinavian designs inspired by ski wear. White, red and black were common color combinations. On the ski slopes, these sweaters were wool, thick and quite heavy for warmth, but in the city they merely looked heavy with a wide shaker knit or shell stitch knitted loosely. Some pullover designs featured the high shawl collar that could be rolled up against the neck for more warmth or opened up for warmer climates.

1950s Light Jackets and Coats

Men's casual coats became very popular in the 1950s. Formal long coats and raincoats existed for business attire, but they were not needed on nights and weekends. Shorter jackets became the everyday choice for men and came in a few favorite styles with a lot of choice in materials and color. For the first time in 20th century fashion history, men's outerwear was fashionable, not just practical. A man's personality was expressed in the type of jacket he wore.

The bush jacket was the most popular in the early 1950s. It was mid hip length with a straight fitting body, fabric or fur classic collar, a yoke and big slash or flap pockets- either two or four. The defining characteristic was the matching belt that wrapped around the waist. The look was modeled after the Safari hunters jacket popular from the turn of the century to the 1930s. This design gave way to the Norfolk-style surcoat jacket. Both designs had a quilted lining that was often removable. The jacket came in smooth leather, suede, gaberdine, and synthetic blends. Color choices were endless, although brown was preferred over all choices.

A similar jacket without the belt was the Mackinaw style. It was a rugged, outdoorsy style that usually came in heavy wool plaid or solid bright colors with a patterned quilted lining. Plain ones could be smooth or textured wool. They all had a full zip up the front, classic collar and two or three large patch pockets. The design was long and straight and looked good with nearly any kind of ensemble underneath.

The above two styles remained popular for the entire 1950s decade and were the basic of 1960s coats as well. The long, lean lines resonated with the era. However, if we were to choose one iconic style of men's 1950s jacket it would be the bomber jacket. This short waisted jacket with ribbed waistband, cuffs, front zipper, slash pockets, and ribbed collar or classic point collar became trendy in the 1940s.

The original design was called the Eisenhower jacket, a military jacket, worn by the president. Over time the extra military pockets were lost in favor of a simpler, streamlined look. They came in suede, leather, wool, gaberdine, and even cheap vinyl and satin. Gaberdine was the best choices for a light jacket. They are still highly collectible today especially in mixed fabrics or as a varsity jacket with contrasting color ribs. They were the perfect jacket for the casual man who needed a light jacket for spring or heavier suede jacket for fall.

Leather bomber jackets had their own fad following. Made of horsehide or cowhide in dark brown or black, almost every man who drove a car or rode a motorbike wore one. Topless convertible sport cars were the envy of every suburban man who longed to escape corporate business life on his way home. Wearing a leather jacket gave him that sense of youthful freedom. Leather made it the most windproof and durable choice as well. Zip out linings made them easy to wash at home. The black motorcycle jacket with off center zip, slash chest pocket, one button flap pocket, and bottom belt became associated with rebellious youth, even if they didn't actually ride a motorcycle. For rockabilly greasers this is the style to wear.
Shop 1950s style jackets and coats.
1950s Mens Casual Shoes

The final two bits of 1950s causal men's fashion are in his accessories: shoes and hat. Casual shoes came in many forms, mostly slip on but some lace up Oxfords with unique materials. The crepe sole, for instance, was a new casual detail that changed the shoe look from sleek to rugged.

The penny loafer, so named because a penny could be placed in the cutout piece that ran across the vamp, was daily wear for Ivy League kids. Mature men wore them, as well, at home where slip on shoes were simply more comfortable. Most penny loafers were a medium brown. A few slightly more formal styles came in black or brown with a tassel tie. Some loafers came in two tones as well - snazzy!

The moccasin was another favorite slip on. Black or brown were equally popular with contrast stitching and bow tie. For at home, moccasin slippers in white or tan were soft yet dressy enough to be worn in company.

Saddle shoes, those iconic black and white, lace up shoes associated with teens were still very common since the 1920s. In the 1950s, we saw more color combinations, such as blue and white, grey and white, brown and white, and brown and tan. Mature men hardly wore them, but they did wear other vivid colors for lace up Oxfords. Blue suede shoes were not only the topic of a popular Elvis song but were also popular casual men's shoes. Why blue? I couldn't find the answer. Maybe blue was the new black? It was not followed by other colors (some green), although textures were plentiful: embossed leather like heavy reptile skin, corduroy, rough suede, woven canvas and even printed plaid. Textured shoes, both lace up and slip on style, were big fashion items for trendy fashionable men.

Sport shoes, worn for actually playing sports, continued to have their place in footwear history. The styles didn't change drastically from the turn of the century. The high top Converse shoes remained popular among basketball wearers- this time with a crepe sole, ventilating eyelets, and a rubber cap toe. Black and white canvas high tops were still the best choice for athletes while low tops in white, brown or blue were worn year round for the ultimate in sporty casualness.

There are quite a few more, less common, styles of shoes for both dress and casual wear to look at. Read this article for more information.

1950s Mens Casual Hats

Men's hats were mostly worn with business attire and dressy summer clothing. The fedora hat was the most classic with a narrow brim tapered down in the front and up at the back. Similar shapes such as the porkpie (round crown), Panama (center crease) and walking hat (a bucket hat) all had the same '50s tilt and wide, usually contrasting, hat band. Newer band styles in the late '50s were thin felt or leather bands.

There was not much difference between formal hats and casual hats. In summer, all major hat styles came out in a straw version but with a slightly wider brim. In the 1950s, the hat band took on more personality with printed fabrics in tropical themes. Madras plaid, silk shantung and striped prints made their way onto straw hats.

The sportiest hat was the cap. It was casual, light and simple. Popular on collage campuses as well as with mature men, caps came in the classic slightly floppy shape or the more oval shape with stiff brim. All textures were made into caps such as nubby tweed for winter, wool plaid for fall, smooth silk for spring, and breathable cotton for summer. Some even has contrasting trim on the edges and brim.

Read more detail about men's 1950s hats style here. Shop for mens hats as well.

This concludes our look at 1950s mens clothing for casual dress. I will be expanding on some of these topics over the next few months, so subscribe to our blog and follow along.

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Men's 1950s Clothing History: Casual Fashion

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Part two of our look at men's 1950s clothing and fashion leaves the dull grey of the workplace behind and enters the vibrant casual clothing world. Read part 1 about men's 1950s business attire here. During the '50s, leisurewear for men became very popular.

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https://theface.com/style/stone-island-ice-jacket-menswear-fashion-thermosensitive-leather-cp-company-massimo-osti

The ice jacket was one of Osti’s most groundbreaking works. He created a fabric that had temperature controlled color. This was completely unheard of in fashion but he used this fabric to create the iconic jacket and since then has been reproduced a number of times. He also created techno wool which was a temperature controlled rubber like wool that he knitted to create fisherman style jumpers with a twist. Stone island was the place for Osti to experiment with the more fashion forward textiles.
He went from inventing raso gommato, the monochrome dying technique where the garment was dyed after finishing, to creating technologically advanced thermo fabrics.

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Stone Island has always been synonymous with innovation. Since launching in 1982, the brand's laser focus on researching and redefining outerwear has seen it grow steadily from a cult favourite into a household name. Creatively directed by Carlo Rivetti, Stone Island is well known for his meticulous approach to design, led by an enduring fascination with military clothing, technical innovation and pioneering fabric development. All of this, supported by his early training in graphic design, allowed him to cultivate a seamless union of style and substance across his portfolio of brands.

Characterised by a pared-back, utilitarian aesthetic, Stone Island initially grew to prominence on the backs of fashion-forward young men in Italy's industrial cities. Groups of Paninaro would don their finest sportswear and workwear to congregate at the fast-food cafes that had begun to proliferate there in the early Eighties. With money to burn, a young, home-grown label like Stone Island represented a perfect opportunity for them to make an impact. Before long, the brand had also been folded into the UK's label-conscious working-class youth culture, and, by the early Nineties, could be found extensively on football terraces across the UK. These early adopters laid the groundwork for Stone Island's identity as a go-to brand for those looking for an experimental yet practical approach to masculine dressing.

Despite now producing headgear, footwear and everything in between, Stone Island owes the lion's share of its legacy to quality outerwear. Parkas, puffas and windbreakers are all offered in an impressive array of colours - achievable thanks to continual experimentation with dyeing techniques - and constructed with painstaking attention to detail. Fabrics such as the lightweight Tella Stella, which launched the company's name in ​'82, and hybrids such as 1987's Rubber Wool, are still used to pioneering effect.

One piece that remains firmly at the centre of this pantheon is the Ice Jacket. First introduced in 1988, it made a splash due to its employment of a new Thermosensitive fabric. The jacket's outer shell includes a thermo-chromatic coating, composed of heat-sensitive molecules which modify the passage of light and morph in response to temperature fluctuations. This invention marked a significant development in the field of intuitive design, highlighting the role of clothing as a medium between our bodies and the outside world.

The Ice Jacket has been reproduced and reinterpreted numerous times over the years since its launch. One latter-day incarnation changes gradually from yellow to black as it warms up, whilst another shifts from navy blue to white. In 2010, the thermo-chromatic pigment was upgraded, offering even more effective results, and, more recently, the company released a version of the jacket which uses its first-ever thermosensitive bonded leather.

Like members of a not-so-secret society, Stone Island's many devotees can identify one another across the globe thanks to its distinctive black, green and gold compass logo (derived from Osti's penchant for exploration, both in design and beyond). These days it can be seen buttoned to the upper arms of everyone from Noel Gallagher to Drake. However, thanks to its strong, grassroots following, the brand will always retain a sense of hardworking, reliable cool.

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The enduring appeal of Stone Island's Ice Jacket

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Stone Island has always been synonymous with innovation. Since launching in 1982, the brand's laser focus on researching and redefining outerwear has seen it grow steadily from a cult favourite into a household name. Creatively directed by Carlo Rivetti, Stone Island is well known for his meticulous approach to design, led by an enduring fascination with military clothing, technical innovation and pioneering fabric development.

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https://www.cpcompany.com/en-no/our-story.html

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Our Story: from 1971 by Massimo Osti, until now | C.P. Company

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In 1971 Massimo Osti, the revolutionary designer internationally recognized as the "godfather of sportswear", founded C.P. Company. Read more about the brand history.

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SS 1994

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Yohji Yamamoto SS1994 (Imogen Steele) inspiration from the east

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Yohji Yamamoto SS1994 (Imogen Steele) inspiration from the east

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Yohji Yamamoto (Imogen Steele) Fashion Illustration AW 1994

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Yohji Yamamoto (Imogen Steele) Fashion Illustration AW 1994

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The Fashion Landscape: Whites, Vogue 1994 (Imogen Steele)

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The Fashion Landscape: Whites, Vogue 1994 (Imogen Steele)

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The Fashion Landscape: Tailoring & The East, Vogue 1994 (Imogen Steele)

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The Fashion Landscape: Tailoring & The East, Vogue 1994 (Imogen Steele)

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In 1994 grunge fashion was becoming popular with chokers, crop tops, high waisted trousers, satin, velvet, denim. This collection had tribal, indian and african influences but also featured things like graffiti print, vests and lots of denim which were all a part of popular culture at the time as fashion started to relax its rules and boundaries.

1990s fashion: A brief history of what we wore - CNN Style

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This collection was so revolutionary for the time as it was a big step toward diversity in fashion by representing tribal, indian and african inspired garments and using a diverse range of models, including male models wearing skirts, it showed that people of all skin colours, cultures and gender belong in every part of the fashion world without boundaries. In fact, in most of his collections there is a strong political message about gender and race equality and he feels passionately about the subject.

50 Years in Fashion: An Interview with Jean Paul Gaultier (francetoday.com)

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This movie was a huge hit when it was released in 1994 and showcases the grunge aesthetic that was popular at the time, including fashion and music.

Pulp Fiction (1994) - IMDb

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Illustration of a design from his 1994 Spring Collection

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Illustration of a design from his 1994 Spring Collection

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Gucci x Ken Scott

Ph. Mark Peckmezian

S. Jonathan Kaye

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Wonderland SS21
Ph. Bartek Szmigulski
S. Kieran Fenney

First Prada collection by Raf

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Wonderland SS21
Ph. Pietro Birindelli
S. Kieran Fenney

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July 2021 :Couture returns to Balenciaga for the first time since Cristobal Balenciaga closed the doors to the House in 1968. Set in a reimagining of the original couture salon with no music and models carrying numbers just as they would have done the last time couture was shown by the house. Luxury interpretations of everyday garments making couture relevant to a new audience? And/Or Questioning what couture means today? Personally, I want it all!!!

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2021: Is this the defining year of Demna @ Balenciaga?

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2021: Is this the defining year of Demna @ Balenciaga?

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Following the hype around Demna and Kanye, Balenciaga stealing the show at the MET Gala, The house continues to throw questions at the fashion system. What is the relevance and future of "red carpet dressing" Who is fashion for? What do you think about this?

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SS22: The Simpsons Premiere @ Balenciaga

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SS22: The Simpsons Premiere @ Balenciaga

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LOVE!!!

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Karl Lagerfeld showed his first haute couture collection under name of chanel in 1983, he incorporated chanel's signature designs into his work. Such as when he introduced what he dubbed ‘the new corset’ to emphasize the waist, as ‘that part of the body looks good when its small’, Lagerfeld said to Vogue, this left him creating a new ‘four-piece suit’.

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The designer also offered up bondage t-shirts with integrated bras worn with oversized wrapper jeans or black Bermuda shorts hung from channel-strapped suspenders, showing elegance with attitude.

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A modern variation on a classic theme, this monochrome ensemble consists of stripped body and white cotton suit, of jacket and hipster mini skirt, with black plastic braid trim. It is associated with the classic chanel chain and a spiky plastic hat.

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Claudia Schiffer wears a youthful variation on the classic chanel suit, Haute couture SS 1994

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Claudia Schiffer wears a youthful variation on the classic chanel suit, Haute couture SS 1994

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Towards the end of the twentieth century the use of fashion supermodels was at its peak, and increased demand for the brand they were wearing and more attention to the shows they were walking in. Lagerfeld responded to this by having models such as Naomi Campbell, Cindy Crawford and evident above Claudia Schiffer, who rose to fame in 1990 with her modeling and acting career.

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In the 1990's, fashion was heading more towards the minimalist side, more monochrome colors, after the overheated glamour in the 80's. Lagerfeld's styling became more conservative, his traditional couture training gave him an advantage against other designers in making garments which focus more on luxury for the buyers.

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Princess Diana wearing chanel blue suit for Prince William's confirmation, paired with minimal beige bag emphasising the blue. 

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Princess Diana wearing chanel blue suit for Prince William's confirmation, paired with minimal beige bag emphasising the blue. 

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The 1990's was a time with no limits, after the collapse of communism everything was liberal, people at the time seemed to yearn for security, truth and new values.
To the public Princess Diana, was seen as a beacon of hope and joy, who was frequently seen dressed in elegant suffusticated chanel suits, which gave her a new sense of power after her divorce.

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Grunge was popular in the 1990s, thanks to artists such as Nirvana and Sonic Youth, and it influenced not just music but also fashion.

He dressed models in beanies, layered flannels, cargo trousers, and slip skirts, emulating the clothes made famous by Seattle rock bands who shopped at thrift stores and garage sales to put together their ensembles.

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Dr. Martens, combat boots and Converse sneakers were worn by the catwalkers. The usage of such low-priced shoes on the runway challenged perceptions of what belonged in the premium market, predating high-fashion partnerships with comfort and sneaker companies.

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Jacobs' defiance of the current quo did not win him many admirers among the fashion elite. Both critics and Jacobs' superiors were unimpressed, and he was sacked.

Jacobs told the New York “I had no idea I’d be fired. But it’s still my favourite collection because it marked a time when I went with my instincts against instructions, and I turned out to be right. It came out of a genuine feeling for what I saw on the streets and all around me.”

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Marc Jacobs’ ss 1993 show for Perry Ellis

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It was the collection that got Marc Jacobs fired at the age of 29, but it was also the show that launched his career. Creating clothing that were dubbed "Grunge is ghastly" by critical critics such as Suzy Menkes, yet it was this sort of display that even Perry Ellis brass got wrong. Grunge became a sign of coolness and appeal, symbolizing Marc Jacobs's astute creations.

In 1997, he established a label with a business partner named Robert Duffy and Louise Vuitton.

https://www.vogue.com/fashion-shows/spring-1993-ready-to-wear/perry-ellis

https://www.youtube.com/watch?v=70LXpUhdhWo

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Marc Jacobs, with the consent of Perry Ellis, is bringing grunge back this November, reshooting 26 designs from his Spring 1993 collection seam-for-seam. The clothing looks unexpectedly current, as seen on Gigi Hadid, Binx Walton, Slick Woods, Dree Hemingway, and others.

18 months have passed and manufacturers have made a trend of bringing back vintage pieces to commercial and Instagram success on the runways.

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Marc Jacobs’ ss 1993 show for Perry Ellis

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Jacobs turned his attention to the grunge scene bubbling in the Pacific Northwest in 1992, when fashion was still catering squarely to the practicality of working women and the upper echelons of society, sending out Carla Bruni in Dr. Martens boots, Tyra Banks in Birkenstocks, Shalom Harlow in Converse All Stars, and Kate Moss and Kristen McMenamy in tees.

Jacobs stated at the time that he was influenced by the realism of the music industry as well as how his model buddies were already wearing. Youth culture has an effect on high fashion, and fashion has become a talking topic in pop culture. It was a forerunner of fashion and music colliding.

https://www.vogue.com/article/marc-jacobs-perry-ellis-grunge-collection-reissue-lookbook

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Tom Ford's F/W 1995 show for Gucci  (Evie Milner)

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Tom Ford's F/W 1995 show for Gucci  (Evie Milner)

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Tom Ford brought life to Gucci, particularly through this show. His design of high waited trousers and big belts aimed to add 'show value' and create a show that's new and exciting, adding something different through these features.
His collection was described as "clean and sophisticated" by many, suggesting he "changed the face of Italian fashion". With this he was seen as the "most talked of designer" Giving Gucci a new 'chic' look, particularly through this show.

He took his American background, mixing it with Italian craftsmanship to create a wearable, modern and elegant collection of shows.

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Tom Ford for Gucci (1995) | Videofashion Archive

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This model in particular displays some typical styles and features of the time. The smokey eye for example and dark coloured clothing Ford has created suggests influence from the grunge period which although was beginning to decline, was still extremely prominent. Fashion at the time was majorly influenced by music such as Grunge, Punk and Rock bands including Nirvana, Pearl Jam, Alice in Chains. Therefore the dark colours and oversized coat may suggest this was still of influence.

However the feminine fit and suit trousers paired with the open buttered shirt suggest Ford was also influenced by the sexy, feminine trends which began appearing in the mid 90s. Silky, satin clothes and tightly fitted pieces.

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Tom Ford took over as creative director for Gucci as sales for the company were decreasing. Unable to even pay own staff at points, it was suggested Gucci was unable to keep up with creating wearable garments for the modern woman.

Ford felt his SS1995 show failed as he presented designs which followed Gucci's dreamy, soft kits. After this Ford felt he needed to take a risk within the brand, moving away from Gucci's typical garments.

Ford explains how he felt "nobody was looking at anything I did" which is what enabled him to take the bold risk of creating a runway of bold, sexy pieces.  He created a new "Ultra glam" age of Gucci. Modelled by models such as Kate Moss and Amber Valetta, he created a kind of sex appeal within this show with the jewel coloured, slinky garments he'd designed.

This was extremely successful and sales for Gucci soared by 90% between 1995-1996 alone. This was a major achievement not only for Gucci but for Ford's career also.

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It's hard to believe that Gucci pre Tom Ford was anything but super sexy. But when Ford took over as creative director in the 90s, Gucci was struggling to keep up with what modern women wanted to wear. The company was doing that badly there was even a point where the famous fashion house couldn't afford to pay its own staff members.

All that changed with Ford's landmark AW95 collection, which single-handedly revived the brand's fortunes and launched his career. Recently, he opened up about the transformative show in an interview with the .

After failing to set Milan on fire with his SS95 collection, which kept to Maurizio Gucci's style with dreamy colours and soft knits, Ford was ready to call it quits. So, as (what he thought would be) a last hoorah for his career at Gucci, he decided to switch things up. "I could have sent anything down that runway. I had a moment where nobody was looking at anything I did."

Enter a womenswear collection of slinky velvet hiphuggers and louche jewel-toned satin shirts, modelled by Kate Moss and Amber Valetta. It was an unapologetically flash package of runway sex appeal. And when the show was over, Ford took his rebellion one step further by ignoring the clause in his contract that forbade him from taking a bow at the end of the show.

"I thought, 'You know what? I'm going to do what I think is right. I'm going to step on the runway,'" he explains. Gucci executives weren't even mad - "The next day you could not get into the showroom. It was absolute hysteria. So, no, no one gave me flak after that."

Ford ushered in a new ultra-glam age of Gucci, one that saw sales at Gucci soar by 90 per cent between 1995 and 1996 alone. So if there's one thing to learn from this, it's that taking risks pays off - even when you think nobody's looking. We're sure Alessandro Michele must be taking notes.

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Tom Ford opens up about his landmark Gucci AW95 collection

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The sexed-up runway show featured Kate Moss and turned around the fashion house's fortunes

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Fashion at the time saw a decrease in grunge, alternative clothing inspired by bands such as Nirvana at the beginning of the 90's.

By 1994 glamour wear was more in trend. This involved more feminine, fitting clothes. A contrast to the grunge clothing seen in the earlier years.
Tailored skirts, suit trouser and shoulder pads were in trend.
Bright colours and high shine fabrics such as satin, vinyl, metallic and sequins were all rage.
The most common outfit that could be seen was a short black slip dress over a tightly fitted white top.
Simple clothing yet sexy and powerful.

Ford's collection demonstrates the typical trends of the time, as he portrays the sexy fitted shirts, suit trousers and bold autumnal colours in his runway.

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A showcase of Ford's looks from the Gucci Fall/Winter 1995 collection.

Ford focused on creating 'sexy' and 'glam' wearable pieces. This was achieved through the dark bold colours he used, as well as the satin and velvet materials he used. His garments hugged the models figure giving off this sexy feminine yet powerful feel.

It's suggested it was this campaign which earned Gucci a huge fortune, bringing it to where it is today.
Tom Ford gave Gucci an "injection of cool".
This can be seen as the key piece from the collection was later worn that year by Madonna at the MTV Video Music Awards. Proving this collection was huge for Gucci as well as the career of Tom Ford.

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Fall 1995 wasn't Tom Ford's first runway show for Gucci, but it was the season he really arrived. The jewel-tone satin shirts unbuttoned to there . . . the velvet hip-huggers . . . the horsebit leather loafers with the race car finish . . . Paraded down a spotlighted Milan runway by the likes of Amber Valletta, Shalom Harlow, and Kate Moss, Ford's seventies-tinged designs signaled a sexy, super-glam new direction for the previously sleepy brand. It was one that would earn the early endorsement of Madonna (who wore the collection's key look to that year's MTV Video Music Awards), catapult the charismatic Ford himself to fame, and send Gucci's fortunes skyrocketing.

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Gucci Fall 1995 Ready-to-Wear Collection

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Fall 1995 wasn't Tom Ford's first runway show for Gucci, but it was the season he really arrived. The jewel-tone satin shirts unbuttoned to there . . . the velvet hip-huggers . . . the horsebit leather loafers with the race car finish . . .