Monochrome spot print twist front tunic top. White bee embroidered T-shirt. Top off your look in fierce spots, stripes or scales.
Black scarf leopard print T-shirt. Black knit ribbed shoulder padded V neck top. Cream tile print tie front blouse.
Green high neck ribbed crop jumper. Khaki green high neck long sleeve top. Pink cable knit jumper. Pink diamante button knitted cardigan. Rust high neck ribbed crop jumper. Pink high neck ribbed crop jumper. White bee embroidered T-shirt. White high neck ribbed crop jumper. Beige hacci boat neck long sleeve top. Black long sleeve twist front top. Black kimono sleeve bodysuit.
Brown snake print belted long sleeve top. Black printed frill neck shell top. Brown leopard print cami top. Brown metallic V neck fitted long sleeve top. Cream contrast print tie front blouse. On 12 February at Christian Dior, aged 42, presented his first collection at 30 Avenue Montaigne, which was strewn with flowers by Lachaume.
Your dresses have such a new look! The news reached the United States even before the rest of France, where the press had been on strike for a month. With his revolutionary New Look, Christian Dior wrote a new chapter in the history of fashion. Furthermore, in order to write it, he literally constructed it with his own hands. The designer had to hammer away at a Stockman mannequin that was too tough and unyielding to bear the preparatory canvases of his visionary wardrobe, says his friend Suzanna Luling: I accentuated the waist, the volume of the hips, emphasised the bust, In order to give my designs more hold, I had nearly all the fabrics lined with percale or taffeta, renewing a tradition that had long been abandoned.
The first outfit was worn by Marie-Thérese and opened the show during which the audience saw 90 different creations file past, belonging to two principal lines: En Huit and Corolle. The "softness" of the New Look was deceptive; the curved jacket peplum shaped over a high, rounded, curved shoulders, and full skirt of Dior's clothes relied on an inner construction of new interlining materials to shape the silhouette.
Throughout the post-war period, a tailored, feminine look was prized and accessories such as gloves and pearls were popular. Tailored suits had fitted jackets with peplums, usually worn with a long, narrow pencil skirt. Day dresses had fitted bodices and full skirts, with jewel or low-cut necklines or Peter Pan collars. Shirtdresses, with a shirt -like bodice, were popular, as were halter-top sundresses.
Skirts were narrow or very full, held out with petticoats ; poodle skirts were a brief fad. Ball gowns full-skirted gown for white tie occasions were longer than ankle-length dresses called "ballerina length" , reaching the floor and worn to balls as they are today. Cocktail dresses, "smarter than a day dress but not as formal as a dinner or evening dress"  were worn for early-evening parties. Short shrugs and bolero jackets, often made to match low-cut dresses, were worn. Christian Dior's 'New Look' collection in brought a revolution to the fashionable silhouette of the s.
Dior's nostalgic femininity of round shoulders, full skirts, padded hips and tiny waists replaced the boxy style of the wartime period at WWII. The trend of hourglass silhouette brought by the popularity of Dior guaranteed the market for intimate apparel. Although intimate apparels are usually hidden by outerwear, intimate apparel is especially emblematic for the contradictory beauty in the s as the silhouette was created depends on the type of foundation garments worn.
Foundation garments became essential items to maintain the curvy silhouette, especially waspies, girdles and horsehair padding. For example, the sales of corsets doubled in the decade Haye, p.
Symington Corset Company of Market Harborough was one of the famous intimate apparel producers in the s as they are the official producer of Dior's corselettes and girdles. The sugar-pink cotton velvet trimming was a particular feature of the range, and some were woven with Christian Dior's initials in the elastic panels on the side This fabric was popular fabric to be applied on intimate apparel in the s because it was one of the first easy-to-launder and drip-dry fabric.
There was a full corset advertisement in shows the popularity of 'Bri-Nylon' and the design of the corselet in the s. The enchanting front panel is in Bri-Nylon lace and marquisette highlighted with criss-cross bands of narrow velvet ribbon.
It has side fastening - partly hook and eye with zipping extension. The very light boning is covered with velveteen. While the corselets reshaping the women's body with tiny waists and big hips, a new shape of bra called 'cathedral bra' was introduced and became popular in the s.
It is called 'cathedral bra' because there would be pointed arches created by the bones over the breasts when the bra is worn. The bones also separate and define the shape of the breasts by pressing them into a pointed or bullet shape.
Therefore, 'cathedral bra' was also called the bullet bra. Underwire bras were first introduced to the market in the s, however, it was forced to quit the market because the steel supply was restricted in the s for WWII. Underwire brassiere design re-entered the market as it helped to uplift the shapes of the breasts to form the trendy curvy silhouette with big busts in the s.
Made with nylon, elastic nylon net and steel underwires, the underwire bras helped to create fashionable high, pert bosoms. Underwire bras are still dominating items in the modern intimate apparel industry.
From the mids, a new unfitted style of clothing appeared as an alternative to the tight waist and full skirt associated with the New Look. Vogue Magazine called the knitted chemise the "T-shirt dress. In , Yves Saint Laurent, Dior's protégé and successor, debuted the "Trapeze Line," adding novel dimension to the chemise dress. These dresses featured a shaped bodice with sloping shoulders and a high waist, but the signature shape resulted from a flaring bodice, creating a waistless line from bodice to knees.
By , most suits featured lightly fitted jackets reaching just below the waist and shorter, narrower skirts. Balenciaga's clothes featured few seams and plain necklines, and following his lead chemise dresses without waist seams, either straight and unfitted or in a princess style with a slight A-line, became popular.
The sleeveless, princess-line dress was called a skimmer. New York had become an American design center during the war, and remained so, especially for sportswear, in the post-war period. By , tight fitting drainpipe jeans became popular among American women.
Natural 'Lizbeth' longline floral print shirt. Blue flocked floral cotton jersey top. Black 'Farah' eyelet detail knit top. Blue placement spot print sweater top. Multi colour leopard print wrap back 2-in-1 top. Plum floral jacquard button back top. Navy mustard and cream stripe peplum top. Monochrome floral embroidered check tunic. Black 'simta' sequin long sleeves top. Star by Julien Macdonald. Multi grey animal woven mix cosy top. Silver zebra print embellished cold shoulder bubble top.
Tan animal print high neck petite top. Black flocked floral mesh batwing top. Nine by Savannah Miller. Pink embellished trim split sleeve top.
Whether you're looking for everyday staples or creating a bold party look, our collection of women's tops has you covered. Dress for daytime with our casual-chic tunics and off the shoulder tops, or layer up our detailed lace tops for a boho aesthetic. Discover New Look's collection of women's tops, including off the shoulder and lace tops, to crop tops and going out styles. Free delivery options available. New Look knows that you can never have too many tops on rotation, that’s why it makes such a diverse range. From off-the-shoulder tops to blouses, crop tops and T-shirts, the New Look tops collection is always designed with the latest trends in mind to make every style relevant for each fashion season.