Shifting Fashion Styles

August 2, 2024

I used to think that designers changing styles and fashion directions every 10 years or so was a way to get consumers to purchase more clothes, and in a way, that's true, but it's really more than that.  Creative people get really bored of doing the same thing over and over, and there are just so many iterations, that finally becomes a "jumping the shark" moment in which more iterations become absurd and idiotic.  And as an artist speaking to other artists, you all probably understand that more than any other group.  

There are so many necklines that you can do, and although there are more iterations out there, the thinking, creating, and experimenting with new necklines becomes boring, and the creativity has all dried up.  Changing a complete style, then coming back to a style brings a new outlook to a style that wouldn't have been possible before.   A lot of what's at play here is the resting of a thought or project, coming back to it after a while, and seeing a whole new perspective on that project.  As artists, we understand that.  

I am continually fascinated at how fashion changes, why it changes, and how it responds to other parts of our lives.  I was, fortunate enough to receive a wonderful education, and during my senior year in high school, the curriculum was organized so that we studied English Literature, Art History, Music History, and regular History all at the same time so that we studied Renaissance Art, Literature, Music and History at the same time and could see the historical happenings and how that brought about certain movements in art, music, and literature, or even vice versa - how art movements brought about certain historical change. 

This all became very clear when you looked at the Age of Enlightenment and how it progressed into an Age of Revolution.  How our human history had matured from enlightenment to revolution was inevitable and normal.  So, the movement from the divine right of kings to enlightened despots to constitutional monarchies was inevitable and entirely predictable. 

When studying fashion history and all the different effects of the events surrounding us, it's very predictable where we will go.  Usually, art movements, of which fashion is one, will give a precursor to what's happening in real life.

The entirely controlled society of Victorian England created the same sort of fashion. After Queen Victoria's death, her son, Edward, started a freer, more unrestricted society, and fashion followed.  

It shows the movement in fashion from one era to another, from the forced silhouettes of boning, crinoline, and bustles to the freedom of lighter, softer fabrics that flowed to a woman's shape instead of contriving it.  

And then there's Chanel's first version of looser and more flowing and the creation of knit for women's wear (thank heavens!).  

It's almost as if humans get tired of one look and have to return to another.  The only thing that hinders this is huge historical events.  

Elsa Schiaparelli was not only a rival of Chanel, but was instrumental in designing a very classic silhouette, which showed off her outlandish ornamentation or other designs (the shoe hat).

These silhouettes were so classic, that it's no reason why they shouldn't have lasted for another 30 years - from the late 20's to the 40's.  

With a slight modification in the ornamentation, these dresses were a staple in Europe and the US during World War 2, when rationing was king, and in most cases, these garments would be made from old clothing cut down to a more economical cut.  

But after that historical phase was over, then we return to the back and forth of fashion.  Styles seem to really swing like a pent-up pendulum....

Whew - in almost half a decade we went through about seven phases of fashion.  It was a wonderful time to learn to sew.  I used to refer to it as Shoulder Pads to Shoulder Pads - from Joan Crawford to Joan Collins.  I learned about all the techniques of tailoring and dressmaking you could imagine.  

Things have slowed down now, but again there's a reason for it.  Having been all cramped up in the 1920's, 30's and 40's and then let out again, and having gone through about 6 fashion trends, it was about time things slow down, but also there was a specific catalyst for that.  The biggest one was the manufacturing model set up to respond to the Grunge trend, and it became so addictive, that it was very difficult to give up, but we are slowly moving into another phase.  And this shouldn't be that hard for us to figure out.  We're coming out of an androgynous, sloppy, messy fashion trend, so everything now is going to be cut more to a feminine shape.  In addition merchandisers have to figure out how to increase the expense of clothing with customers essentially getting the same clothing.  For example the $7 tee shirt is going to be a thing of the past.  Instead it will cost $25, but it will last for 5 years, where as the $7 tee would only last through 5 washings.  Believe me, the $25 tee is a lot cheaper in the long run.  Merchandisers know this, and they are trying to figure out how to make this more lucrative.  

Believe it or not, that is all terrific news for we sewists.  Suddenly our clothing that we make is not only better made, with better fabrics, and lasts way longer (therefore making it even more durable and valuable.  But there's the extra benefit of knowing that the $12/tee (comparable to the $25/tee you buy) you make is far better than anything that you could buy for that price.  Suddenly not only is the tee we make is cheaper than what we can buy, but more durable, and then that's not counting the customization - higher/lower neck, shape of neck, long sleeve, short sleeve, 3/4 sleeve, shirt tail shaped hem, longer hem, darted in front, and a myriad of other things that can suddenly make your tee way more special, functional, and valuable to you, than anything you can buy.  

In my learning days, that's the main reason people took up sewing, and it was a very nice additional plus for me.  But what really got me hooked on it was that I could tailor and shape the garment to be just beautiful for me, and made me look 10 pounds lighter with just a few useful techniques here and there. 

Here is the proof - I'm currently 2" shorter and 10 pounds heavier on the left than on the right, and my measurement is 2" more around those hips.  But because I know how to camoflauge and flatter what I do have, I'm not looking all that bad, although I would like to lose those 10 lbs!  Posture and doing what I love in life (sewing and working with brides, and students) makes a big difference.  But so does the knowledge of how to flatter your figures.  

When I do this for my clients, I'm breaking them into two categories - coloring and shape.  I've learned long time ago that a stark white on a ruddy complexion will make that person look horrible, while the winter cream on a sallow complexion will make the bride look grey and dead looking.  Complexions tend toward the cool or warm side of the color wheel and staying in those colors means you will always look good.  Ruddy, red and warm complected people will look great in warm colors, while sallow and blue-ish toned skin will look excellent in cool colors. 

The same is true of our shape.  Taking the four main shapes: Apple, Rectangle, Pear and Hourglass,  I use two classifications here - Apple/Rectangle and Pear/Hourglass.  Working then further, one classification has weight at or above the waist, and that can vary from shoulders, chest, bust, and/or waist - so any of those apply.  While Pear/Hourglass carries most of their weight below the waist, and almost always has a much smaller waist than the hips.  Sometimes the hips are in proportion to the shoulders, bust, chest and height but the waist is just out of proportion because it's too small, and then makes the waist look too small.  

So for Apple/Rectangles, their trouble zone is above the waist.  This is where they have to be careful but can usually wear just about anything they want below the waist.  Dark tops, that fit the body (not skin tight) that have a slight nip under the bust to hint at a waist are the key features this figure needs to look good.  This shape almost always uses a front/side bust dart.  After that if this shape wants to wear white pants, frolicking prints on the pants and even something really crazy, it's OK - as long as you keep the top very toned down, very classic, and slightly shaped  to give that inward illusion just under the bust.

For the Pear/Hourglass most of the weight is below the waist and that's the trouble zone.  Wearing l ight colors on top is key, while keeping the bottom strictly classic, fitted and shaped well.  For we short people here, that means that pant leg that has to be slightly tapered at the knee is key and shouldn't be slighted.  The top can be fun and open, but not sloppy.  DO NOT FIT THE WAIST.  You can elude to it, and keep it a little above the natural waist (otherwise you have a muffin-top silhouette).  Keeping the waist a little above the waist, means that you have a soft angle from the waist to the hip and makes for a much slimmer looking hip and not one that's the size of a continent!

Starting out with fashion and fashion trends, the great thing here is to know that you have immense choices.  Choices that the consumer doesn't even know exist.  Not only can you fashion clothes that will be durable and the style will last forever, you can style it so that even when you get shorter and put on a few, you can look the same.  Ten pounds for a shorty can be tough when you're shopping everywhere from Walmart to Neiman Marcus.  But when I'm making and styling my own clothes, I can beat that look every time.    You can too!

The SewingArtistry Resource Library is designed to contain information to not only make your sewing better, but to aid in you fitting and flattering your shape, size and style.  Check it out. 

Look for future classes coming in 2024
The Core Pattern Shirt, (one of my favorites for woven core pattern that you can make into a myriad of different garments), 
Basic Knit Top (core pattern class for knit basic tops, shells, tees, dresses, and tunics)
 

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