Men's Fashion Illustrations from the Turn of the Century (Dover Fashion and Costumes)

Svelte flappers in smart frocks and chic hats personify the style of the jazz Age, and this outstanding resource features hundreds of such deliciously distinctive images. Featuring selections from hard-to-find fashion catalogs published by the well-known but now-defunct B. Altman & Company, this volume offers a sumptuously authentic record of the delectable fashions of the 1920s. Over 700 illustrations, detailed descriptions, and prices for a vast array of upscale women’s clothing and accessories include knitted sportswear, sophisticated satin evening dresses, one-piece bathing suits of wool jersey with parasols and rubber bathing caps, cloche hats of straw, felt, and silk, and elegant shoes, ranging from sporty buckskin oxfords to satin slippers and pumps. A selection of dress and casual attire for children appears as well. Profusely illustrated and brimming with detailed information, this volume represents not only a first-rate record of the everyday fashions of the late 1920s but also an intriguing look at the mail-order advertising of the era. Fashion enthusiasts, historians, and all lovers of nostalgia will rejoice in the perennial appeal of these stylish images. "The Roaring Twenties, age of jazz and flappers, Model T Fords and Hollywood movie stars, was also a time when for millions the bulky catalogs of Montgomery Ward or Sears, Roebuck were a substitute for the window displays of Paris or New York fashion shops. Buying clothing through the mails had become an American institution, and entire families were often dressed via the U.S. Post Office. More conservative that the up-to-the-minute fashion shops, mail-order catalogs nevertheless offered surprisingly much of the haute couture. But, above all, they accurately record what men, women and children were actually wearing in the 1920s. Now Stella Blum (Curator of the Costume Institute at the Metropolitan Museum of Art, New York) has distilled into this volume the essence of the fashion pages of the Sears, Roebuck and other mail-order catalogs of the Twenties. Her informative text and selection of over 150 representative catalog pages--comprising over 750 illustrations with original captions--gradually trace the evolution of dress modes from the vogue of stodgy postwar fashions to the impact on costume of the crash of '29. In a year-by-year survey, Mrs. Blum's introductory texts relate the trends in fashion to the social changes of that dynamic and restless era, assessing the influence of war and technological development on the high hemlines, flattened busts and hips, geometric patterns and 'bobbed' hairstyles of the boyish flapper look. And as she notes, it was through the Sears catalogs that Parisian designers like Coco Chanel, Jeanne Lanvin and Madeleine Vionnet made their influence felt on Midwestern farms and in urban ghettos. You'll find here a marvelous panorama of 'smart,' 'modish,' 'chic,' 'stylish,' and 'ultra fashionable' apparel, as well as more traditional garments: for women and 'misses' there are Middy blouses, Russian boots modeled by Gloria Swanson, 'Bob' hats modeled by Clara Bow and Joan Crawford; coats, suits, dresses (including the first maternity dresses), sweaters, capes; silk and rayon stockings, corsets, chemises, camisoles, negligees; and accessories like necklaces, belts, combs, headbands, umbrellas, gloves, compacts, hand bags, wristwatches and powderpuff cases. You'll see slower-to-change men's fashions--shirts, ties, suits, sweaters and sport clothes--become trimmer, brighter, smarter. And you can follow the trends in children's fashions as well. For historians of costume, nostalgia buffs and casual browsers, the pages afford a rare picture--unspoiled by recent myths about the Roaring Twenties--of how average people really dressed in the jazz age." -- Provided by publisher The Roaring Twenties, age of jazz and flappers, Model T Fords and Hollywood movie stars, was also a time when for millions the bulky catalogs of Montgomery Ward or Sears, Roebuck were a substitute for the window displays of Paris or New York fashion shops. Buying clothing through the mails had become an American institution, and entire families were often dressed via the U.S. Post Office. More conservative than the up-to-the-minute fashion shops, mail-order catalogs nevertheless offered surprisingly much of the haute couture. But, above all, they accurately record what men, women, and children were actually wearing in the 1920s. Now Stella Blum (Curator of the Costume Institute at the Metropolitan Museum of Art, New York) has distilled into this volume the essence of the fashion pages of the Sears, Roebuck and other mail-order catalogs of the Twenties. Her informative text and selection of over 150 representative catalog pages comprising over 750 illustrations with original captions gradually trace the evolution of dress modes from the vogue of stodgy postwar fashions to the impact on costume of the crash of '29. In a year-by-year survey, Mrs. Blum's introductory texts relate the trends in fashion to the social changes of the dynamic and restless era, assessing the influence of war and technological developments on the high hemlines, flattened busts and hips, geometric patterns and "bobbed" hairstyles of the boyish flapper look. And as she notes, it was through the Sears catalogs that Parisian designers like Coco Chanel, Jeanne Lanvin, and Madeleine Vionnet made their influence felt on Midwestern farms and in urban ghettos. You'll find here a marvelous panorama of "smart," "modish," "chic," "stylish," and "ultra fashionable" apparel, as well as more traditional for women and "misses" there are Middy blouses, Russian boots modeled by Gloria Swanson, "Bob" hats modeled by Clara Bow and Joan Crawford; coats, suits, dresses (including the first maternity dresses), sweaters, capes; silk and rayon stockings, corsets, chemises, camisoles, negligees; and accessories like necklaces, belts, combs, headbands, umbrellas, gloves, compacts, hand bags, wristwatches, and powderpuff cases. You'll see slower-to-change men's fashions shirts, ties, suits, sweaters, and sports clothes become trimmer, brighter, smarter. And you can follow the trends in children's fashions as well. For historians of costume, nostalgia buffs, and casual browsers, these pages afford a rare picture unspoiled by recent myths about the Roaring Twenties of how average people really dressed in the jazz age. The Roaring Twenties, age of jazz and flappers, Model T Fords and Hollywood movie stars, was also a time when for millions the bulky catalogs of Montgomery Ward or Sears, Roebuck were a substitute for the window displays of Paris or New York fashion shops. Buying clothing through the mails had become an American institution, and entire families were often dressed via the U.S. Post Office. More conservative than the up-to-the-minute fashion shops, mail-order catalogs nevertheless offered surprisingly much of the haute couture. But, above all, they accurately record what men, women, and children were actually wearing in the 1920s.Now Stella Blum (Curator of the Costume Institute at the Metropolitan Museum of Art, New York) has distilled into this volume the essence of the fashion pages of the Sears, Roebuck and other mail-order catalogs of the Twenties. Her informative text and selection of over 150 representative catalog pages — comprising over 750 illustrations with original captions — gradually trace the evolution of dress modes from the vogue of stodgy postwar fashions to the impact on costume of the crash of'29. In a year-by-year survey, Mrs. Blum's introductory texts relate the trends in fashion to the social changes of the dynamic and restless era, assessing the influence of war and technological developments on the high hemlines, flattened busts and hips, geometric patterns and'bobbed'hairstyles of the boyish flapper look. And as she notes, it was through the Sears catalogs that Parisian designers like Coco Chanel, Jeanne Lanvin, and Madeleine Vionnet made their influence felt on Midwestern farms and in urban ghettos.You'll find here a marvelous panorama of'smart,''modish,''chic,''stylish,'and'ultra fashionable'apparel, as well as more traditional garments: for women and'misses'there are Middy blouses, Russian boots modeled by Gloria Swanson,'Bob'hats modeled by Clara Bow and Joan Crawford; coats, suits, dresses (including the first maternity dresses), sweaters, capes; silk and rayon stockings, corsets, chemises, camisoles, negligees; and accessories like necklaces, belts, combs, headbands, umbrellas, gloves, compacts, hand bags, wristwatches, and powderpuff cases. You'll see slower-to-change men's fashions — shirts, ties, suits, sweaters, and sports clothes — become trimmer, brighter, smarter. And you can follow the trends in children's fashions as well.For historians of costume, nostalgia buffs, and casual browsers, these pages afford a rare picture — unspoiled by recent myths about the Roaring Twenties — of how average people really dressed in the jazz age. "For thousands of women across America hard hit when the frivolity of the twenties ended so resoundingly with the Crash of '29, the pages of the Sears catalogs became an essential resource in maintaining a wardrobe. An ambitious marketing operation, it could not afford to take chances on haute couture; its fashions were geared as closely as possible to the prevailing tastes of the American people. For this historically accurate sampling of authentic 1930s fashion, Stella Blum, former Curator of the Costume Institute at the Metropolitan Museum of Art in New York, selected for reproduction 133 representative pages from rare sears catalogs of the period (fall and spring catalogs for each year from 1930 to 1939). Hundreds of illustrations record what men, women and children were actually wearing in the 1930s when, as a copyline from the Fall 1930 catalog proclaimed: 'Thrift is the spirit of the day. Reckless spending is a thing of the past.' You'll see here how simpler women's fashion designs--of more traditional, affordable material--recaptured the feminine form with a more natural wasteline and lower hemlines than seen in the twenties. for evening wear, longer dresses replaced flamboyant beaded short gowns while cloche hats, another twenties trademark, were replaced by berets, pillboxes and turbans. The seriousness of the times is reflected in an evident desire to escape harsh realities with glamorous accessories and dresses endorsed by such Hollywood legends as Loretta Young, Claudette Colbert and Fay Wray. For historians of costume, nostalgia buffs and casual browsers, these pages afford a rare picture of how the average American really dressed during the thirties. It is an essential resource for study of the clothing of an important era which designers cannot afford to be without." -- Provided by publisher A unique fashion image developed in mid nineteenth-century America reflecting the influences of Queen Victoria, the court of Napoleon III and American adaptions of European designs, many of the stylish silhouettes that emerged from this spirited era are still admired today. This book presents a fashion parade of authentic ladies' and childrens' styles from the most influential women's magazine of the period Godey's Lady's Book which presented both original fashions and adaptations from European publications. Over 400 striking designs, including 42 figures in full color, were chosen for this volume from a selection of rare issues (18371869) of Godey's by Stella Blum, director of Kent State University Museum and former curator of the Costume Institute at New York's Metropolitan Museum of Art. Among the many beautiful illustrations reproduced here are morning dresses, walking suits, riding outfits, ball gowns, capes, children's costumes, plus hairstyles and a full array of accessories shoes, bonnets, gloves, muffs, fans, walking sticks, and more. Captions detail the rich fabrics, color schemes, and decorative trims of this gallery of vintage attire. The illustrations offer a panoramic view of evolving styles from Victorian 1940s outfits with severe high necklines, elongated bodices, and bonnets designed to keep the wearer's eyes looking chastely ahead; to 1950's adaptations of French haute couture featuring ornate gowns widened with hoopskirts and elaborately trimmed with lace, ribbons, fringes, and feathers; to 1860's garb in which skirts narrowed and graceful trains replaced the hoopskirt. Costume and culture historians, clothing designers and illustrators will find the work a valuable reference to clothing designs of the period and a fascinating look back at mid-Victorian couture. For thousands of women across America, hard hit when the frivolity of the twenties ended so resoundingly with the Crash of'29, the pages of the Sears catalog became an essential resource in maintaining a wardrobe. An ambitious marketing operation, it could not afford to take chances on haute couture; its fashions were geared as closely as possible to the prevailing tastes of the American people. For this historically accurate sampling of authentic 1930s fashion, Stella Blum, former Curator of the Costume Institute at the Metropolitan Museum of Art in New York, selected for reproduction 133 representative pages from rare Sears catalogs of the period (fall and spring catalog for each year from 1930 to 1939). Hundreds of illustrations record what men, women, and children were actually wearing in the 1930s when, as a copyline from the Fall 1930 catalog proclaimed:'Thrift is the spirit of the day. Reckless spending is a thing of the past.'You'll see here how simpler women's fashion designs — of more traditional, affordable material — recaptured the feminine form with a more natural waistline and lower hemlines than seen in the twenties. For evening wear, longer dresses replaced flamboyant beaded short gowns while cloche hats, another twenties trademark, were replaced by berets, pillboxes, and turbans. The seriousness of the accessories and dresses endorsed by such Hollywood legends as Loretta Young, Claudette Colbert, and Fay Wray.For historians of costume, nostalgia buffs and casual browsers, these pages afford a rare picture of how the average American really dressed during the thirties. It is an essential resource for study of the clothing of an important era which designers cannot afford to be without. For thousands of women across America, hard hit when the frivolity of the twenties ended so resoundingly with the Crash of '29, the pages of the Sears catalog became an essential resource in maintaining a wardrobe. An ambitious marketing operation, it could not afford to take chances on haute couture; its fashions were geared as closely as possible to the prevailing tastes of the American people. For this historically accurate sampling of authentic 1930s fashion, Stella Blum, former Curator of the Costume Institute at the Metropolitan Museum of Art in New York, selected for reproduction 133 representative pages from rare Sears catalogs of the period (fall and spring catalog for each year from 1930 to 1939). Hundreds of illustrations record what men, women, and children were actually wearing in the 1930s when, as a copyline from the Fall 1930 catalog "Thrift is the spirit of the day. Reckless spending is a thing of the past." You'll see here how simpler women's fashion designs of more traditional, affordable material recaptured the feminine form with a more natural waistline and lower hemlines than seen in the twenties. For evening wear, longer dresses replaced flamboyant beaded short gowns while cloche hats, another twenties trademark, were replaced by berets, pillboxes, and turbans. The seriousness of the accessories and dresses endorsed by such Hollywood legends as Loretta Young, Claudette Colbert, and Fay Wray. For historians of costume, nostalgia buffs and casual browsers, these pages afford a rare picture of how the average American really dressed during the thirties. It is an essential resource for study of the clothing of an important era which designers cannot afford to be without. From 1861 to 1890 the Munich publishing firm of Braun & Schneider published plates of historic and contemporary costume in their magazine Münchener Bilderbogen. These plates were eventually collected in book form and published at the turn of the century in Germany and England. This volume presents all 125 double-spread plates from the third English edition. For the first time, the plates appear in chronological order and with English captions.Over 1,450 costumed figures are shown, from antiquity to the end of the nineteenth century, covering a wide variety of social classes, and professions: Egyptian and Assyrian kings, Byzantine emperors, Frankish and Norman nobles, priests, servants, soldiers of many lands and eras, crusaders, German knights, pages, Italian scholars, German townspeople, peasants, merchants, Dutch burghers, popes, nuns, bishops, monks, English Puritans and Cavaliers, English and French kings, Swiss citizens, French courtiers and republicans, and many more. In addition, there is excellent coverage of late-nineteenth-century folk and their costumes, captured just before the beginning of standard Western dress — Italian, Spanish, Dutch, French, German, Russian, Eastern European, Chinese, Japanese, Asian, and others. To avoid the variable and somewhat fanciful depictions of color in the early editions, all costumes are rendered in black-and-white.A comprehensive source of historic costume in pictures, this remarkable book will be invaluable to costume designers, students of fashion design, commercial artists, and anyone interested in the history of dress. The illustrations are uniformly excellent, and the exceptionally low price makes this book even more attractive. From 1861 to 1890 the Munich publishing firm of Braun & Schneider published plates of historic and contemporary costume in their magazine Mnchener Bilderbogen. These plates were eventually collected in book form and published at the turn of the century in Germany and England. This volume presents all 125 double-spread plates from the third English edition. For the first time, the plates appear in chronological order and with English captions. Over 1,450 costumed figures are shown, from antiquity to the end of the nineteenth century, covering a wide variety of social classes, and Egyptian and Assyrian kings, Byzantine emperors, Frankish and Norman nobles, priests, servants, soldiers of many lands and eras, crusaders, German knights, pages, Italian scholars, German townspeople, peasants, merchants, Dutch burghers, popes, nuns, bishops, monks, English Puritans and Cavaliers, English and French kings, Swiss citizens, French courtiers and republicans, and many more. In addition, there is excellent coverage of late-nineteenth-century folk and their costumes, captured just before the beginning of standard Western dress Italian, Spanish, Dutch, French, German, Russian, Eastern European, Chinese, Japanese, Asian, and others. To avoid the variable and somewhat fanciful depictions of color in the early editions, all costumes are rendered in black-and-white. A comprehensive source of historic costume in pictures, this remarkable book will be invaluable to costume designers, students of fashion design, commercial artists, and anyone interested in the history of dress. The illustrations are uniformly excellent, and the exceptionally low price makes this book even more attractive. “One must always wear a hat when lunching with people whom one does not know well,” observed Coco Chanel, “because one appears to one's best advantage.” The couturier's regard for the power of hats to confer dignity and attractiveness upon the wearer stems from a long historical tradition. In addition to its practical uses — warding off the effects of harsh weather or an enemy's assault, for example — a stylish hat has always made a statement of rank, elegance, or self-esteem.This remarkable book presents an illustrated view of 2,000 years of head coverings. Over 800 drawings by the author — adapted from rare paintings, sculptures, and illustrations — accurately depict headgear in various aspects, including gender, class, and nationality. Crowns, wigs, tiaras, and helmets appear among the varied forms of headdresses, which include conical leather caps worn by the Danes in 70 B.C.; metal Viking helmets with horns; feathered Flemish berets (1410); petite straw hats, adorned with a rosette and ribbons (1870); handsome English top hats (1957); as well as ecclesiastical regalia, traditional and ethnic styles, and hats and head adornments from far beyond the European shores.Organized chronologically by century, the fetching drawings appear alongside an interpretive text that documents the development of styles, their changes with the passage of time, and the influences that both created and altered them. Engaging and literate, this valuable reference for designers, art students, and costume historians will also captivate anyone who appreciates the age-old allure of a fine hat. One must always wear a hat when lunching with people whom one does not know well, observed Coco Chanel, because one appears to one's best advantage. The couturier' s regard for the power of hats to confer dignity and attractiveness upon the wearer stems from a long historical tradition. In addition to its practical uses warding off the effects of harsh weather or an enemys assault, for example a stylish hat has always made a statement of rank, elegance, or self-esteem. This remarkable book presents an illustrated view of 2,000 years of head coverings. Over 800 drawings by the author adapted from rare paintings, sculptures, and illustrations accurately depict headgear in various aspects, including gender, class, and nationality. Crowns, wigs, tiaras, and helmets appear among the varied forms of headdresses, which include conical leather caps worn by the Danes in 70 B.C.; metal Viking helmets with horns; feathered Flemish berets (1410); petite straw hats, adorned with a rosette and ribbons (1870); handsome English top hats (1957); as well as ecclesiastical regalia, traditional and ethnic styles, and hats and head adornments from far beyond the European shores. Organized chronologically by century, the fetching drawings appear alongside an interpretive text that documents the development of styles, their changes with the passage of time, and the influences that both created and altered them. Engaging and literate, this valuable reference for designers, art students, and costume historians will also captivate anyone who appreciates the age-old allure of a fine hat. From 1861 to 1890 the Munich publishing firm of Braun & Schneider published plates of historic and contemporary costume in their magazine Münchener Bilderbogen. These plates were eventually collected in book form and published at the turn of the century in Germany and England. This volume presents all 125 double-spread plates from the third English edition. For the first time, the plates appear in chronological order and with English captions. Over 1,450 costumed figures are shown, from antiquity to the end of the nineteenth century, covering a wide variety of social classes, and professions: Egyptian and Assyrian kings, Byzantine emperors, Frankish and Norman nobles, priests, servants, soldiers of many lands and eras, crusaders, German knights, pages, Italian scholars, German townspeople, peasants, merchants, Dutch burghers, popes, nuns, bishops, monks, English Puritans and Cavaliers, English and French kings, Swiss citizens, French courtiers and republicans, and many more. In addition, there is excellent coverage of late-nineteenth-century folk and their costumes, captured just before the beginning of standard Western dress--Italian, Spanish, Dutch, French, German, Russian, Eastern European, Chinese, Japanese, Asian, and others. A comprehensive source of historic costume in pictures, this remarkable book will be invaluable to costume designers, students of fashion design, commercial artists, and anyone interested in the history of dress Unlike many more recent costume histories, this hard-to-find classic drew on primary sources -- actual costumes, illuminated manuscripts, missals, brasses, effigies, etc. -- for absolute authenticity in providing a detailed, comprehensive account of what people wore in Britain from the early Saxon period (ca. 460 A.D.) through the reign of George III (1820). Here is meticulous, detailed coverage of tunics, cloaks, gowns, robes, mantles, dresses, and many other garments, as well as headgear, footwear, and accessories, worn during the fifth century, the early medieval period and Plantagenet reign, the time of the Tudors, the Elizabethan era, and through the early years of the house of Hanover. Over 470 illustrations chronicle the evolution of clothing styles -- from the simple robes, boots, and mittens worn by the lower classes, to the sartorial splendor of royalty and the specialized clothing and accoutrements of ecclesiastics. Among a host of charming illustrations are portrayals of revelers attending a medieval dance, strolling minstrels, a royal picnic during the late 15th century, and numerous other vignettes. Artists, students of fashion and design, cultural historians, and anyone interested in the history of fashion will find this rare volume an invaluable resource. This book presents an illustrated view of 2,000 years of head coverings. Over 800 drawings by the author--adapted from rare paintings, sculptures, and illustrations--accurately depict headgear in various aspects, including gender, class, and nationality. Crowns, wigs, tiaras, and helmets appear among the varied forms of headdresses, which include conical leather caps worn by the Danes in 70 B.C.; metal Viking helmets with horns; feathered Flemish berets (1410); petite straw hats, adorned with a rosette and ribbons (187); handsome English top hats (1957); as well as ecclesiastical regalia, traditional and ethnic styles, and hats and head adornments from far beyond the European shores. Organized chronologically by century, the fetching drawings appear alongside an interpretive text that documents the development of styles, their changes with the passage of time, and the influences that both created and altered them. This reference for designers, art students, and costume historians is also for anyone who appreciates the age-old allure of a fine hat--P. [4] of cover This book presents an illustrated view of 2,000 years of head coverings. Over 800 drawings by the author--adapted from rare paintings, sculptures, and illustrations--accurately depict headgear in various aspects, including gender, class, and nationality. Crowns, wigs, tiaras, and helmets appear among the varied forms of headdresses, which include conical leather caps worn by the Danes in 70 B.C.; metal Viking helmets with horns; feathered Flemish berets (1410); petite straw hats, adorned with a rosette and ribbons (1870); handsome English top hats (1957); as well as ecclesiastical regalia, traditional and ethnic styles, and hats and head adornments from far beyond the European shores. Organized chronologically by century, the fetching drawings appear alongside an interpretive text that documents the development of styles, their changes with the passage of time, and the influences that both created and altered them. This reference for designers, art students, and costume historians is also for anyone who appreciates the age-old allure of a fine hat

this Is A Reprint Of A 1974 Work Published By Richard Sadler (chalfont St. Giles, Buckinghamshire). It Depicts European Headgear Through The Ages Using 800 Of The Author's Black-and-white Sketches Based On Paintings, Sculptures, And Illustrations. Covering Nearly 2000 Years—from Danish Caps Of 70 Bc, To The English Top Hats Of 1957—amphlett's Interpretive Text And Drawings Are Organized Chronologically By Century, Ending In 1974 When The Book Was First Published. Annotation ©2003 Book News, Inc., Portland, Or

A comprehensive source of historic costume in pictures, this remarkable book from the late 1800s features over 1450 costumed figures shown from antiquity to the end of the 19th century, covering a wide variety of peoples, social classes, and professional types: Egyptian and Assyrian kings, Frankish nobles, Crusaders, German knights and pages, Italian scholars, English Puritans and Cavaliers, Japanese, individual Asians and more Over 130 fully illustrated pages from Sears catalogs offer historically accurate images of what men, women, and children wore throughout 1930s. Hundreds of illustrations reflect the era's mood of economic austerity and its departure from the flamboyance of Twenties fashions in favor of lower hemlines and garments made from more traditional, affordable materials.   Over 700 black-and-white illustrations, detailed descriptions, and prices for a vast array of upscale women's clothing and accessories appear among these highlights from rare 1920s B. Altman & Company catalogs. Stylized drawings of flappers depict sophisticated dresses, bathing suits, cloche hats, shoes, and more. A selection of attire for men and children is included. Hard-to-find classic drew on primary sources — actual costumes, illuminated manuscripts, effigies, etc. — to provide authentic detailed coverage of what people wore in Britain from the early Saxon period (ca. A.D. 460) to the reign of King George III (1820). Clothing of commoners, royalty, and ecclesiastics. Indispensable for fashion historians. A collection of 125 historic and contemporary fashion plates in black and white originally published in *Münchener Bilderbogen* from 1861 to 1890. They present costumes of a wide variety of peoples, social classes and professional types from antiquity to the end of the XIX century. Over 100 full-page, royalty-free illustrations document what well-dressed American men wore in early 1900s: checked and striped business suits, sporty knickers and jackets, elegant formal wear, long fur-trimmed coats, more. Includes variety of accessories: canes, gloves, spats. Presents Fashion Pages From The Sears, Roebuck, And Other Mail-order Catalogs Of The 1920s, Featuring Over 750 Captioned Illustrations Of Clothing And Accessories For Men, Women, And Children. Edited And With Text By Stella Blum. Over 400 striking fashion designs from rare issues of Godey's Lady's Book (1837-1869) -- the most influential women's magazine of the period. Introduction and captions. 435 designs, 42 in full color.-- Publisher description. Catalog illustrations show what American men, women and children actually wore during the 1930s, including shoes, coats, underwear, shirts, blouses, hats, dresses, purses, suits, and sweaters

Over 1,450 costumed figures in clearly detailed engravings — from the dawn of civilization to the end of the 19th century. Features many folk costumes. Captions.

DOVER BOOKS ON FASHION......Page 2 Title Page......Page 15 Copyright Page......Page 17 Table of Contents......Page 21 Introduction......Page 22