Body Proportions of Fashion Illustrations, 1840–1940, Compared with the Greek Ideal of Female Beauty

Creekmore, Anna M.; Pedersen, Elaine L.

doi:10.1177/1077727x7900700606

Cited by 16 publications

(7 citation statements)

References 1 publication

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“…The greatest fluctuations were evidenced in the location of the secondary, or lower, waist/hip line during the months of 1923 and 1924. These results lend support to the concept that fashion illustrators tend to vary human body proportions to emphasize, or exaggerate, characteristics of a new style (Creekmore and Pedersen, 1979). (Allen, 1931 Weeden (1977), an analysis of correlation was undertaken to determine the degree of relationship among the three variables of hemline location, uppermost waist/hip location, and secondary waist/hip location.…”

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confidence: 62%

The Rise and Fall of It All: The Hemlines and Hiplines of the 1920s

Richards

1983

Clothing and Textiles Research Journal

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That the hemline of women's daytime costume became increasingly elevated during the 1920s, and that this costume often evidenced stylistic emphasis around the anatomical hipline, are two traditional concepts promulgated by most costume historians. In the current investigation, 1,978 women's daytime fashion illustrations, published within Good Housekeeping between February 1920 and December 1929, were measured to test the accuracy of these often communicated beliefs. While the data did substantiate that hemlines rose and hiplines were emphasized during the 1920s, it was noted that the actual transitional movements of these two style details, as plotted by the results of the study, were not so simply described. Hemlines, for example, lengthened during 1922 and 1923, before beginning an upward trend in 1924, reaching the most elevated position in 1927. A relatively stable period ensued until October 1929, when the dress skirt again began to grow longer. Thus, the publication of longer skirts predated the stock market crash of October 29, 1929, by approximately one month. Similarly, the specific location of waist/hip emphasis dropped between the years of 1920 and 1925, thereafter followed by a gradual rise. A modest inverse relationship was noted between the fluctuating positions of the waist/hip design features and hemline locations. It was discovered that data collected from sketched fashion illustrations reflected slightly more exaggerated versions of a concurrent style than did data collected from photographs.

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confidence: 62%

The Rise and Fall of It All: The Hemlines and Hiplines of the 1920s

Richards

1983

Clothing and Textiles Research Journal

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“…Elizabeth Lowe (1984) used this same approach to data collection in her study of the adherence of women's evening apparel styling to aesthetic rules. Creekmore and Pedersen (1979) also used a combination of ratio and nominal measures to study body proportions in fashion illustrations from 1840 to 1940 as compared to the Greek ideal. In order to study the changing hemlines in women's clothing, Richards measured from "mouth to skirt hemline, from mouth to uppermost waist/hip horizontal line, and from mouth to next lower waist/hip horizontal line" (p. 43), provided a lower or secondary waist/hip horizontal line was evident.…”

Section: Ratio Measurementmentioning

confidence: 99%

“…Certain features of dress may lend themselves to nominal measurement only, which is probably why researchers using higher levels of measurement (e.g., ratio scales) in the coding procedure often incorporate nominal measures as well (Creekmore & Pedersen, 1979;Littrell & Evers, 1985;Richards, 1983-84). For example, the style name of a garment component (e.g., a "bertha" style collar), a type of embellishment used (e.g., embroidery), or the mere presence of a component (e.g., sleeved versus sleeveless) can only be identified and nominally categorized.…”

Section: Feature Identification Measuresmentioning

confidence: 99%

“…Nominal data included specific design features that were used to create secondary horizontal emphasis at the hip, the frequency of long overskirts, and whether the garment was depicted in a drawing or a photograph. Creekmore and Pedersen (1979) also used a combination of ratio and nominal measures to study body proportions in fashion illustrations from 1840 to 1940 as compared to the Greek ideal. The researchers measured "total height, torso length, waist to floor length, waist width, and shoulder width" (p. 382) from fashion illustrations of the period.…”

Section: Ratio Measurementmentioning

confidence: 99%

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Development of an Instrument for a Visual Analysis of Dress from Pictorial Evidence

Cosbey

Damhorst

Farrell-Beck

2002

Clothing and Textiles Research Journal

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We describe the development of an instrument for visually analyzing women's daytime clothing styles as depicted in two women's fashion magazines, The Delineator and Harper's Bazar, from 1873 through 1912. The instrument was designed for a study examining relative changes in diversity among women's clothing styles over time. Measures used in previous visual analysis research are reviewed and ways in which these measures were adapted to the new instrument are explained. Instrument validity and methods used in the evaluation of reliability are discussed and findings are reported. Recommendations for further evaluation and uses of the instrument are included.

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“…Horn and Gurel (1981) have explained the ideal Greek figure. Creekmore and Pedersen (1979) investigated body proportions used for fashion illustrations in 1840–1940 and compared them with the Greek ideal of female beauty. They found that the proportions in fashion illustrations had not adhered to the Greek ideal over time.…”

Section: Introductionmentioning

confidence: 99%

Suitable bustline position in designing a well-fitting and attractive garment

Kim

Sakaguchi

Takatera

2019

IJCST

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Purpose The purpose of this paper is to investigate a suitable position for the bustline of the upper garment and its effect on appearance for various body types. It also provides an appropriate balance between the bustline and the waistline. Design/methodology/approach The authors manufactured five upper garments using a patternmaking method that allows for the distance between the side neck point and the bust point (BL) to be altered. The appearance of the garments on four dress forms with different values of BL was compared using Scheffe’s paired comparison (Nakaya’s variation) of seven scales. In total, 20 Japanese subjects in their 20s evaluated the garments. Six evaluation items – wrinkle amount, fit, attractiveness, beauty, youthfulness and slimness – were used. The vertical ratios of the garments on each dress form, a (projected distance between the horizontal line of the shoulder points and the bustline) and b (projected distance between the bustline and waistline), were measured using 3D scanned data. The relationship between the ratios and the results of the sensory test was investigated. Findings It was found that changing the values of the BL influenced the appearance of the upper garments. The upper garment for which the BL was adjusted according to dress form was determined to not be well-fitting, attractive and beautiful. The garment with an a:b ratio of close to 1 was evaluated as beautiful, attractive and better fitting than all others. Originality/value The results of this study will help designers and patternmakers create more beautiful, attractive and fitting upper garments.

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Body Proportions of Fashion Illustrations, 1840–1940, Compared with the Greek Ideal of Female Beauty

Cited by 16 publications

References 1 publication

The Rise and Fall of It All: The Hemlines and Hiplines of the 1920s

The Rise and Fall of It All: The Hemlines and Hiplines of the 1920s

Development of an Instrument for a Visual Analysis of Dress from Pictorial Evidence

Suitable bustline position in designing a well-fitting and attractive garment

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