Evening Dress
1936 (designed)
| Artist/Maker | |
| Place of origin |
This is an evening ensemble made of black taffeta. It is composed of a full-length, backless dress and of a short jacket. The dress has two straps at the back of the waist, going over the shoulders. The skirt of the dress flares out in heavy folds. The jacket is worn over the dress. It shows the shape of a tailcoat, opening high under the bust. The leg-of-mutton sleeves end at the elbow.
This evening ensemble was designed by Edward Molyneux (1891-1974). Molyneux was born in London, England. He opened a dressmaking salon in Paris in 1919. He was based in London from the mid-1930s until the end of World War II, when he returned to Paris.
During the 1930s, evening wear underwent tremendous transformations. By 1930, designers of women's fashion had abandoned the linear, gamine look of the 1920s in favour of softer, more sculptural clothes which accentuated feminine contours. Bodices were slightly bloused; skirts were gently flared. Hemlines dropped and for the first time varied according to the time of day. Evening gowns were full-length.
Couturiers also abandoned the costly, labour-intensive decorative techniques of the 1920s, such as embroideries. They focussed on colour combinations, the use of lace, or on the inherent characteristics of rich materials such as taffeta, as in this evening ensemble.
In the 1930s, the suit for women had become so popular that its concept of a long skirt and short high-waisted jacket was borrowed for evening wear. Short boleros and, as in this evening ensemble, jackets were used to cover backless evening gowns.
Another strong influence on evening wear came from historical and escapist sources. Designers derived much of their inspiration from neo-classicism and Victorian revivalism. This vogue gave rise to leg-of-mutton sleeves on tailored jackets, and on evening jackets. From 1935 onwards, the skirt grew wider, probably to balance with the new voluminous sleeves.
This evening ensemble was designed by Edward Molyneux (1891-1974). Molyneux was born in London, England. He opened a dressmaking salon in Paris in 1919. He was based in London from the mid-1930s until the end of World War II, when he returned to Paris.
During the 1930s, evening wear underwent tremendous transformations. By 1930, designers of women's fashion had abandoned the linear, gamine look of the 1920s in favour of softer, more sculptural clothes which accentuated feminine contours. Bodices were slightly bloused; skirts were gently flared. Hemlines dropped and for the first time varied according to the time of day. Evening gowns were full-length.
Couturiers also abandoned the costly, labour-intensive decorative techniques of the 1920s, such as embroideries. They focussed on colour combinations, the use of lace, or on the inherent characteristics of rich materials such as taffeta, as in this evening ensemble.
In the 1930s, the suit for women had become so popular that its concept of a long skirt and short high-waisted jacket was borrowed for evening wear. Short boleros and, as in this evening ensemble, jackets were used to cover backless evening gowns.
Another strong influence on evening wear came from historical and escapist sources. Designers derived much of their inspiration from neo-classicism and Victorian revivalism. This vogue gave rise to leg-of-mutton sleeves on tailored jackets, and on evening jackets. From 1935 onwards, the skirt grew wider, probably to balance with the new voluminous sleeves.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
|
| Materials and techniques | Machine and hand-sewn taffeta |
| Brief description | Evening ensemble consisting of taffeta dress and jacket, designed by Molyneux, Paris, 1936. |
| Physical description | Evening ensemble made of black taffeta. It is composed of a full-length, backless dress and jacket. |
| Production type | Haute couture |
| Gallery label | EVENING ENSEMBLE (dress and bolero), silk poult
French, Paris, Edward Molyneux, about 1936
The adjective 'little' can hardly be applied to this ensemble, but as the purpose of this exhibition is to explore the use of black in fashionable dress, its inclusion (along with the other full length dresses) is justified. Black is used to compose a dense shape uncluttered by any decorative details save for the back fastening of two rows of tiny domed buttons and loops (hidden by the bolero). The dress is Princess Line of four main flared panels weighted at the back. In common with most 1930s evening dresses it has a low back neckline. The bolero has padded shoulders which stress the gathered sleeve tops. Additional weight is given by deep silk facings and a lining of crepe-de-Chine. The outfit has severe, pure lines which characterise the designer's output.
Worn and given by Miss Lynn Fontanne
The Cecil Beaton Collection
T.318&A-1974(1983-84) |
| Credit line | Given by Miss Lynn Fontanne |
| Summary | This is an evening ensemble made of black taffeta. It is composed of a full-length, backless dress and of a short jacket. The dress has two straps at the back of the waist, going over the shoulders. The skirt of the dress flares out in heavy folds. The jacket is worn over the dress. It shows the shape of a tailcoat, opening high under the bust. The leg-of-mutton sleeves end at the elbow. This evening ensemble was designed by Edward Molyneux (1891-1974). Molyneux was born in London, England. He opened a dressmaking salon in Paris in 1919. He was based in London from the mid-1930s until the end of World War II, when he returned to Paris. During the 1930s, evening wear underwent tremendous transformations. By 1930, designers of women's fashion had abandoned the linear, gamine look of the 1920s in favour of softer, more sculptural clothes which accentuated feminine contours. Bodices were slightly bloused; skirts were gently flared. Hemlines dropped and for the first time varied according to the time of day. Evening gowns were full-length. Couturiers also abandoned the costly, labour-intensive decorative techniques of the 1920s, such as embroideries. They focussed on colour combinations, the use of lace, or on the inherent characteristics of rich materials such as taffeta, as in this evening ensemble. In the 1930s, the suit for women had become so popular that its concept of a long skirt and short high-waisted jacket was borrowed for evening wear. Short boleros and, as in this evening ensemble, jackets were used to cover backless evening gowns. Another strong influence on evening wear came from historical and escapist sources. Designers derived much of their inspiration from neo-classicism and Victorian revivalism. This vogue gave rise to leg-of-mutton sleeves on tailored jackets, and on evening jackets. From 1935 onwards, the skirt grew wider, probably to balance with the new voluminous sleeves. |
| Bibliographic references |
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| Collection | |
| Accession number | T.318&A-1974 |
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| Record created | July 25, 2005 |
| Record URL |
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