History's Runway: A Pierre Balmain Gown, 1950-1955

Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum

Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 

History's Runway: The Givenchy 'Les Muguets' (Lilies of the Valley) Gown, 1955

Gown by Givenchy, 1955
Les Muguets -- The Lilies of the Valley
Made for the Viscountess de Bonchamps
Collected by Cecil Beaton
This and all related images from:
The Victoria & Albert Museum

Formal evening gowns, well into the 1950s remained an essential part of a society lady’s wardrobe.  A lady often had a wardrobe filled with a variety of sumptuous gowns, usually couture, which were lavishly embroidered and accessorized with jewels.  These gowns were meant to be worn to receptions and balls, the opera or the theatre. While some were worn more than once, a majority of these gowns were commissioned for a specific occasion, and worn only once.

This dress of white silk organdie is embroidered with silk thread and sequins from top to bottom in a repeating pattern of lily of the valley--done entirely by hand by one of the many specialist workshops in Paris where each tiny sequin and stitch was placed individually by a team of highly-skilled embroiderers.

The full-length, strapless dress with a high waist and train was worn with a pair of full-length black evening gloves.  It was designed and made in Paris in 1955 by Hubert de Givenchy for the Viscountess de Bonchamps.  The gown was later purchased by famed Society photographer Cecil Beaton who presented this, as well as an important collection of gorgeous gowns, to the V&A.

History's Runway: A Pierre Balmain Gown, 1950-1955

Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum

Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 

Masterpiece of the Week: The Givenchy 'Les Muguets' (Lilies of the Valley) Gown, 1955

Gown by Givenchy, 1955
Les Muguets -- The Lilies of the Valley
Made for the Viscountess de Bonchamps
Collected by Cecil Beaton
This and all related images from:
The Victoria & Albert Museum

Formal evening gowns, well into the 1950s remained an essential part of a society lady’s wardrobe.  A lady often had a wardrobe filled with a variety of sumptuous gowns, usually couture, which were lavishly embroidered and accessorized with jewels.  These gowns were meant to be worn to receptions and balls, the opera or the theatre. While some were worn more than once, a majority of these gowns were commissioned for a specific occasion, and worn only once.

This dress of white silk organdie is embroidered with silk thread and sequins from top to bottom in a repeating pattern of lily of the valley--done entirely by hand by one of the many specialist workshops in Paris where each tiny sequin and stitch was placed individually by a team of highly-skilled embroiderers.

The full-length, strapless dress with a high waist and train was worn with a pair of full-length black evening gloves.  It was designed and made in Paris in 1955 by Hubert de Givenchy for the Viscountess de Bonchamps.  The gown was later purchased by famed Society photographer Cecil Beaton who presented this, as well as an important collection of gorgeous gowns, to the V&A.

History's Runway: The Callot Soeurs Evening Dress, 1922

Evening Gown from the House of the Callot Soueurs, 1922
Collected by Cecil Beaton
The Victoria & Albert Museum

This romantic evening gown dates to 1922 and represents the very best quality workmanship and materials available at the time.  The gown comes alive with light-reflecting beads and sequins as well as intricate embroidery which follows the lines of the printed floral design.

This gown is the work of the fashion house Callot Soeurs which four sisters, Marie, Marthe, Regina and Joséphine, opened initially as a lace shop in 1888. The eldest, Marie (Madame Gerber), introduced the couture side of the business at 9 avenue Matignon, Paris, where it continued until the mid 1930s. The sisters enjoyed working with rare and exquisite materials such as Chinese silks, rubberized gabardine, lace and decorated sheer fabrics.

This dress was worn by a British aristocrat, Winifred, Duchess of Portland. It came to the V&A as part of the collection of fashion amassed by famed photographer Cecil Beaton (1904-1980).  Beaton contacted the well-dressed elite of Europe and North America to create this lasting monument to the art of dress in 1971.

The sleeveless evening dress is comprised of printed silk voile with a lamé petticoat and net embroidered belt.  It features a straight bodice and a dropped waistline marked by the wide matching belt with a bold jeweled buckle.  It is embroidered with pearlized sequins and bugle beads in pinks and greens. 

History's Runway: A Pierre Balmain Gown, 1950-1955

Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum

Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 

History's Runway: The Jean Patou Pink Sheath Gown, 1932-1934

Sequined Sheath Gown
Jean Patou, 1932-1934
France
The Cecil Beaton Collection at
The Victoria & Albert Museum

Could this gown be anymore perfectly 1930s? A long, sleeveless evening dress of tulle, the gown is covered entirely by hand-sewn pink sequins. With its draped bodice and pleated peplum accentuated by a gold sequined belt, this looks like a gown straight out of a Joan Crawford film. The skirt’s bottom hem is even adorned with a a trompe-l'oeil effect of pleats. Such sheath gowns were the height of early 1930s fashion, showing off a woman’s natural curves as opposed to flattening her out as the square, boxy, short dresses of the 20s did.

Made between 1932 and 1934, the gown was designed by Jean Patou (1880-1936) in Paris. Eventually the dress was given to celebrity photographer Cecil Beaton to include in the fashion collection he was organizing for the V&A. 

History's Runway: Princess Elizabeth's Wine Crepe Evening Gown, 1936-1939

Evening Gown Design
Norman Hartnell, 1936-39
This gown for then-Princess Elizabeth was later made of wine crepe, peach silk
with an intricate embroidery of glass beads, semi-precious stones and sequins.
The Victoria & Albert Museum

Norman Hartnell—perhaps the favorite of the Twentieth Century couturiers to the British royal family—will long be remembered for the glamorous gowns that he created for Queen Elizabeth (the Queen Mother), Princess Margaret Rose and Queen Elizabeth II.  From the late 1930s to the 1970s, Hartnell—from his Mayfair Couture House--designed a wide range of clothes that the female members of the Royal Family wore for their official duties as well as in their personal lives.

This drawing, made between 1936 and 1939, shows the design for an elegant wine-colored crepe evening gown and delicate peach jacket which were created for Queen Elizabeth II, while still Princess, as  part of her personal wardrobe, rather than being intended for state occasions. The Queen wore this ensemble for private dinners or for personal evening engagements. In true regal style, the neckline of the dress and the jacket are encrusted with beading, sequins and gemstones—the sort of intricate embroidery that became a Hartnell trademark.  There is a sample of the pink glass beading, sequins and semi-precious stones along with the crepe fabric attached to the sketch.

History's Runway: The Worth Evening Dress and Slip, 1928-9

Evening Gown
House of Worth
1928-1929
The Victoria & Albert Museum

A long evening gown of aquamarine chiffon, this dress has a printed floral pattern in shades of lilac, orange and gold which was inspired by Asian designs.  The pattern is outlined with iridescent sequins.

The sleeveless dress is straight cut with a low round neck at the front and a deep 'V' at the back. Four shield-shaped panels of golden tulle outlined in golden sequins are attached at the hips and a sunburst pattern is embroidered on them in iridescent sequins. Three graduated layers of gathered aquamarine tulle edge and join the panels.

This gown was created by the House of Worth, between 1928 and 1929.

History's Runway: The Chanel Blue Sequin Evening Gown, 1932

Gown by Chanel, 1932
This and all related images from:
The Victoria & Albert Museum

How 1932 does this dress look?  Can’t you see Joan Crawford slinking around in this, looking for her next husband and slinging back tumblers of vodka?  This long, sleeveless evening dress is made of saxe-blue silk and is completely covered with small matching sequins.

In the style of the era, it features a wide V-neck front, which dips to the waist at the back. A large bow of matching silk has been applied to the front bust, with another matching application below the waist at the back. The skirt is gored to flare from the knees in the front and also from the waist at the back.

During the first half of the 1930s, designers concocted evening gowns which were intended to wrap women in luxurious, body-hugging sheaths.  This was a clear response to the short, flat square gowns of the 1920s. During this period, the floor-dusting evening gowns were mostly sleeveless and very often showed off a bare back or a low neckline.  The white and light pastel colors of the 1920s gave way to the stronger, more acidic colors which were fashionable in the 1930s.  Chemically-charged tones were combined with jewel tones for a dramatic contrast which helped define the era.  Furthermore, the fashions of the 1920s tended to flatten out a woman’s curves, making young ladies look quite androgynous.  The gowns of the 1930s bolstered femininity and allowed women of the time to use the spunk and strength that they’d amassed during the last decade as a means of expressing their womanhood. 

The gown was designed by Chanel who had previously championed the sportier looks of the 1920s.  By the time this gown was designed in 1932, she had begun to embrace the more luxurious draping of the time and became known for the highly feminine fashions for which her label continues to be celebrated.  

History's Runway: The Givenchy 'Les Muguets' (Lilies of the Valley) Gown, 1955

Gown by Givenchy, 1955
Les Muguets -- The Lilies of the Valley
Made for the Viscountess de Bonchamps
Collected by Cecil Beaton
This and all related images from:
The Victoria & Albert Museum

Formal evening gowns, well into the 1950s remained an essential part of a society lady’s wardrobe.  A lady often had a wardrobe filled with a variety of  sumptuous gowns, usually couture, which were lavishly embroidered and accessorized with jewels.  These gowns were meant to be worn to receptions and balls, the opera or the theatre. While some were worn more than once, a majority of these gowns were commissioned for a specific occasion, and worn only once.

This dress of white silk organdie is embroidered with silk thread and sequins from top to bottom in a repeating pattern of lily of the valley--done entirely by hand by one of the many specialist workshops in Paris where each tiny sequin and stitch was placed individually by a team of highly-skilled embroiderers.

The full-length, strapless dress with a high waist and train was worn with a pair of full-length black evening gloves.  It was designed and made in Paris in 1955 by Hubert de Givenchy for the Viscountess de Bonchamps.  The gown was later purchased by famed Society photographer Cecil Beaton who presented this, as well as an important collection of gorgeous gowns, to the V&A.

History's Runway: A Jean Patou Gown, 1932-4

Evening Gown of Tulle and Sequins
Jean Patou
France, 1932-1034
The Victoria & Albert Museum

This long sleeveless gown by the celebrated Jean Patou (1880-1936) is made of tulle and is entirely covered in pink sequins. The elegantly draped bodice has a slightly pleated peplum at the front and a gold sequined belt at waist level. The skirt is a sheath that ends at the bottom with a trompe-l'oeil effect of pleats.

This gown from 1932-4 shows the 1930s trend of the glorification of the female body—a concept which was central to classical dress.  This idea was the inspiration for many a gown during this era as designers tried to evoke the simplicity of ancient forms all the while employing evocative fabrics such as lamés and satins.

This gown forms part of the Cecil Beaton Collection at the Victoria and Albert Museum.

History's Runway: The Callot Soeurs Evening Dress, 1922

Evening Gown from the House of the Callot Soueurs, 1922
Collected by Cecil Beaton
The Victoria & Albert Museum

This romantic evening gown dates to 1922 and represents the very best quality workmanship and materials available at the time.  The gown comes alive with light-reflecting beads and sequins as well as intricate embroidery which follows the lines of the printed floral design.

This gown is the work of the fashion house Callot Soeurs which four sisters, Marie, Marthe, Regina and Joséphine, opened initially as a lace shop in 1888. The eldest, Marie (Madame Gerber), introduced the couture side of the business at 9 avenue Matignon, Paris, where it continued until the mid 1930s. The sisters enjoyed working with rare and exquisite materials such as Chinese silks, rubberized gabardine, lace and decorated sheer fabrics.

This dress was worn by a British aristocrat, Winifred, Duchess of Portland. It came to the V&A as part of the collection of fashion amassed by famed photographer Cecil Beaton (1904-1980).  Beaton contacted the well-dressed elite of Europe and North America to create this lasting monument to the art of dress in 1971.

The sleeveless evening dress is comprised of printed silk voile with a lamé petticoat and net embroidered belt.  It features a straight bodice and a dropped waistline marked by the wide matching belt with a bold jeweled buckle.  It is embroidered with pearlized sequins and bugle beads in pinks and greens.