The Edwardian era from 1910-1919 saw a rise in opulent and extravagant women's fashion inspired by King Edward VII's lifestyle. Women's silhouettes became more fluid with columnar dresses and long corsets creating an upright posture. Popular fabrics included silk, lace, chiffon and brocade. Influential designers like Fortuny, Doucet and Poiret popularized styles like clinging Delphos dresses, diaphanous materials, and Oriental inspired designs featuring harem pants, turbans and slippers. Paul Poiret's hobble skirt became notorious for restricting women's movement.

1. EDWARDIAN
OPULENCE
(1910-1919)
✣FACULTY : MS. MANI NIGAM
✣BY SHEFFALI GUPTA AND PRIYA JHA

2. INTRODUCTION
✣Edwardian fashion refers to the
clothing that was in style between
the late 1890s and 1914 or the
beginning of the Great War (World
War I).
✣Edwardian era was a time when
women's fashions took on a new
opulence and extravagance,
inspired by the hedonistic lifestyle of
Britain's King Edward VII.

3. FASHION
✣During the early years of the 1910s the
fashionable silhouette became much more
lithe, fluid and soft than in the 1900s
✣The Art Deco movement began to emerge
at this time and its influence was evident in
the designs of many couturiers of the time.
✣ Simple felt hats, turbans, and clouds of
tulle replaced the styles of headgear popular
in the 1900s (decade).
✣By 1910 the silhouette of ladies dresses
had simplified and became columnar, with a
new, long, corset design which gave the
body an upright posture. The overall
silhouette of 1910 is somewhat reminiscent
of 1810 with columnar skirts, hair piled on
the head in wavy curls and neoclassical
details.
✣In 1910 the kimono sleeve was open,
loose, and comfortable.

4. ✣For day wear one-piece dresses in
silk or cotton (lingerie dresses with lots
of lace trim), blouses and skirts, jackets
with matching jumpers or skirts were all
popular.
✣The bodice lining was structured,
closely fitted to the figure and boned.
✣Day dress usually had long sleeves,
fairly fitted to the arm.
✣Evening dresses were usually made
of fine silks, with open necklines and
short sleeves, which could be cut in one
with the body of the dress.
✣Fabrics were silk satin, brocade, lace,
chiffon and embroidered silks. Many
fabrics could be layered to create a rich
effect without a lot of bulk.

5. HAT
✣large hats with wide brims and
broad hats with face-shadowing with
lots of ostrich feathers were used to
wear in the early years of decade ,
gradually decreasing to smaller hats
with flat brims with lots of feather
were worn
FOOTWEAR
✣Shoes for evening are pumps in
leather or silk, with medium heels,
with bow or rosette decorations or
narrow straps.
✣Day time shoes can be boots with
buttons or laces or pumps with
multiple straps.

6. DESIGNERS
✣ the first real fashion shows were
organized during this period in time,
by the first female couturier, Jeanne
Paquin
✣Two of the most influential fashion
designers of the time were Jacques
Doucet and Mariano Fortuny. The
French designer Jacques Doucet
excelled in superimposing pastel
colors and his elaborate gossamery
dresses suggested
the Impressionist shimmers of
reflected light. His distinguished
customers never lost a taste for his
fluid lines and flimsy, diaphanous
materials . Doucet was nonetheless
a designer of immense taste and
discrimination

7. ✣The Venice-based designer
Mariano Fortuny y Madrazo, for his
dress designs he conceived a special
pleating process and new dyeing
techniques. He patented his process
in Paris on 4 November 1910. He
gave the name Delphos to his long
clinging sheath dresses that
undulated with color. The name
Delphos came from the bronze statue
of the Charioteer at Delphi. Each
garment was made of a single piece
of the finest silk, its unique color
acquired by repeated immersions
in dyes whose shades were
suggestive of moonlight or of the
watery reflections of the Venetian
lagoon. Breton straw,
Mexican cochineal, and indigo from
the Far East were among the
ingredients that Fortuny used.

8. PAUL POIRET
✣His Oriental style became popular after
the Ballet Russes
performed Scheherazade in Paris in 1910.
✣ Fashion concepts included exotic
designs based on harem wear in bright
colors with beaded embellishment.
✣ The lampshade tunic came into vogue
toward the end of Edwardian times as did
the Directoire style of 1912 , which featured
a high waist that accentuated a long, slim
figure.
✣Turbans and jeweled slippers were a
feature of Orientalism and a new exotic
style of dress for Edwardian women.
✣To complete the outfits there were exotic
Eastern inspired jeweled slippers which
drew together Orientalism in the outfit.

9. ✣Fur was a symbol of Orientalism and
appeared on all sorts of garments from
outerwear to lingerie as an edging trim.
✣Cloche hats, fur edgings on coats and
long columnar dresses worn by Poiret's
models.
✣Poiret's Hobble Skirt
Having liberated women by putting them
into pants Poiret then sought to design
extremes and became famous for
designing a hobble skirt which drew the
legs closely together as it was so narrow.
To increase the hobble effect women
needed to wear a 'fetter', a kind of bondage
belt that held the ankles together and
prevented the wearer from making any
movements other than small steps in
imitation of Geisha girls

10. THE END