Watteau
Evening Dress
1996 (made)
1996 (made)
| Artist/Maker | |
| Place Of Origin |
Contemporary designers continue explore the past for inspiration. Here, Vivienne Westwood looks to the 18th century. The suggestion of side hoops and the double box-pleats at the back echo 18th century fashion. The design subverts the sack worn by women in Watteau’s paintings, yet the gown’s deliberate asymmetry, with a single off-shoulder style and a polonaise pouf on only one side, gives it a thoroughly contemporary look. A white organdie version of this dress was designed for Lady Bianca Job-Tyroan in 1994 for the Queen Charlotte’s Ball. Westwood often subverts historical references in her designs, which has led her to continually produce innovative and original clothing since her first collections in the mid-1970s.
object details
| Categories | |
| Object Type | |
| Parts | This object consists of 4 parts.
|
| Additional Title | Les Femmes Collection |
| Materials and Techniques | Shot silk faille, taffeta and deerskin |
| Brief Description | Shot silk and taffeta three-piece 'Watteau' evening gown including a skirt, corset and deerskin glove, designed by Vivienne Westwood, Great Britain, 1996 |
| Physical Description | Green and lilac shot silk faille and taffeta three-piece evening gown including a skirt, corset and white deerskin glove. The bow is pink and black shot silk |
| Dimensions |
|
| Credit line | Given by the designer |
| Production | Spring / Summer 1996 |
| Summary | Contemporary designers continue explore the past for inspiration. Here, Vivienne Westwood looks to the 18th century. The suggestion of side hoops and the double box-pleats at the back echo 18th century fashion. The design subverts the sack worn by women in Watteau’s paintings, yet the gown’s deliberate asymmetry, with a single off-shoulder style and a polonaise pouf on only one side, gives it a thoroughly contemporary look. A white organdie version of this dress was designed for Lady Bianca Job-Tyroan in 1994 for the Queen Charlotte’s Ball. Westwood often subverts historical references in her designs, which has led her to continually produce innovative and original clothing since her first collections in the mid-1970s. |
| Bibliographic Reference | De La Haye, Amy, ed. The Cutting Edge: 50 Years of British Fashion 1947-1997. London: V&A Publications, 1997. p. 83. |
| Collection | |
| Accession Number | T.438:1 to 4-1996 |
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| record created | August 21, 2003 |
| Record URL |