VINTAGEF A S H I O N I N T H E 5 0 s

1950’s Women’s GloveEtiquette

Fashion Compared from 1950

to Now!December 2014

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TABLE OF CONTENTS

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1950’s Fashion

1952’s Fashion

Fashion Then To Now

1954’s Fashion

1950’s Women’s Etiquette

4 & 5

6 & 7

8 & 9

10 & 11

12 & 13

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1950 Fashion remained deliberately fluid when they all swing one

feelers were cast in the direction of the 1920s, especially by

Hardy Amies, who showed suits with straight unbelted

hip-hugging jackets over straight skirts.

Dior launched a “vertical line” - sheath

dresses whose narrow straightness was

emphasized by fine pleating or tucking, or

by narrow ribbon bands running from

neck to hem.

The basis was a figure-fitting sheath,

but only in certain instances was this left

in a simple, uncompromising form.

Simple tailored coats in chiffon, lace and organdie

floated over narrow summer dresses. Loose coats in

thin silk were worn over suits, and the prettiest evening

coats were those which added no whit of extra warmth but

floated with the transparent buoyancy of balloons over narrow or

crinoline evening dresses.

Although the straight hip-hugging jacket did not seem to

make much headway in its extreme form, modified versions

of the same feeling were seen in the prevalence of low

buttoning and low-placed pockets. Many

suits were open to the waist, and buttoned

importantly below it. Revers became

almost waist-length, leaving a horse-shoe

opening over a blouse.

In the spring Dior first showed a dress

slim to the knees and then breaking into

pleats which developed by the autumn into the full flare of

the trumpet skirt. This, in day and evening versions, swung

in heavy pleats or stiffened flares, from knee-level, below

the simplest of sheaths.

“...the prettiestevening

coats”

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1952No final answer to questions about the waistline was given in 1952.

The phrase “the wandering waistline” was coined at the Paris

spring collections and the waist continued to wander to the point of

disappearing, throughout the year. High waist, low waist, natural waist,

no waist: all had their devotees.

Dior’s markedly high waists melted, as the year went on, into a

development of his earlier princess dresses a molded figurine line,

which followed the figure as closely as a swim suit from high neck

through waist to hips, and then flared gently. wonderful ease, being cut

just not to touch the body.

Each line called for a different type of corsetting, a different figure,

a different posture, a different personality. Whether the two could

continue to exist side by side or whether one would eventually triumph

over the other remained to be seen.

It seemed that, since the end of World War II, fashion was

taking a long time to settle into an accepted form which

would stand, historically, as the look of the mid-century;

but maybe it was part of the character of the time to

allow this latitude for women to suit themselves

instead of forcing them into a mold that might

be suitable or unsuitable.

Interesting adjuncts to the waistline

controversy were a legion of

boleros and spencers; with pretty

feminine pleating breaking from

them to form an entire dress; belts low

slung at the back or following the hemline

of jackets; belts buckled across the chest

or, on the contrary, cummerbund belts, wide or

elasticized, the better to grip the midriff.

“High waist, low waist,

natural waist,no waist”

“...withpretty

femininepleating”

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1950Pencil Skirts

Ful l Skirts

Dolman Sleeves

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2014

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1954 1954 wanted a prominent, pointed bosom and a straighter,

softer silhouette. Many U.S designers featured relaxed

waistlines, placed less importance on the bust and placed

belts, sashes and drapery at the hip. The intent was to

give the appearance of a longer torso.

Dior presented the H-line, which had

a silhouette relatively straight from

shoulder to hip. His designs were

strikingly different, raising the bust

nearly two inches.

1954 fashion was marked by a subtle,

elegant mood. Soft and often brightly

colored, high quality fabric was in

high demand.

The costume look was in full swing in 1954.

Coats nearly always came with matching

dresses and jacket costumes were accompanied by specially

designed overblouses.

“subtle,elegantmood”

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1 9 5 0 s Wo m e n ’ s Gl ove s E t i q u e t t e

When a Lady Removes GlovesGloves must always be removed before eating, drinking, smoking, or putting on

makeup. When lunching in a restaurant, a lady removes her coat but keeps on her hat

and gloves, removing her gloves when seated at the table.

At dances, long gloves would be part of a lady’s ensemble and as such, kept on. The

glove fingers should be tucked into the opening at the wrist while smoking or drinking,

and the gloves removed entirely immediately upon sitting at the table.

When gloves are worn merely as a covering for the hands (such as heavy winter

gloves), they should be removed with the coat.

Color, Style, and LengthWhite or beige gloves are equally appropriate for any costume with which colors

will harmonize. Black gloves are always smart. Formal occasions do not demand, but

somehow suggest, white gloves.

The length of the glove is decided by current fashion and the length of the sleeve.

Shortie gloves to 8- button length are normally worn on the street, in the daytime and

for informal evenings. Long gloves are usually reserved for more formal occasions.

The style of glove is dictated by fashion and the style of the lady’s outfit.

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