The hourglass silhouette was defined by a small nipped-in waist and fuller hips, and was popularised following Christian Dior’s 1947 collection, ‘New Look’, that greatly influenced feminine styles and shapes of the 50s. This celebration of ultra-femininity was highly successful yet equally questioned by feminists. Many argued that Dior’s emphasis on more restrictive shapes and hyper-feminine styles was a reversal in the autonomy that had been achieved during the war, thus reinforcing oppressive styles and heightening the gender disparity. Icons such as Marilyn Monroe and Sophia Loren publicly flaunted enviable hourglass shapes, whilst Audrey Hepburn’s silhouette was noticeably less curvy yet equally desired.

Although women before the 50s had started to embrace the idea of trousers, the 50s saw the first introduction of trousers designed to fit the female figure. Whilst trouser-wearing women were still a rather revolutionary concept, they grew in popularity due to public figures such as Lucille Ball, Marilyn Monroe, and Audrey Hepburn effortlessly flaunting them. Textured fabric trousers such as tweed, corduroy, and twill were popular. The types of women’s trousers included cigarette pants, slacks, and capri pants, each varying slightly in design. Marilyn Monroe favoured capri and cigarette pants in her everyday closet and had a great influence on the trend of trousers. An important design element that distinguished women’s trousers was the lack of a front zip, unlike men’s trousers, instead the zip was placed to the side or sometimes the back. Trousers were featured in movies such as ‘Funny Face’, 1957, ‘How to Marry a Millionaire’, 1953, and ‘Gentlemen Prefer Blondes’, 1953.

The 1950s can be considered a ‘renaissance’ period of haute couture, as some of the world’s most successful and respected designers emerged. Following Dior’s 1947 debut collection, ‘New Look’, Coco Chanel made a dramatic comeback in 1954, reintroducing silhouettes reminiscent of her previous designs. Hubert de Givenchy’s collaboration with Audrey Hepburn catapulted him further into the public eye, and this continued success with dressing Audrey caused him to become one of the most influential and respected designers of the period.

It is interesting to assess the way different decades perceive and portray fashion of the past, and one way to do this is through the analysis of cinematic presentations. One modern 50s-set movie that showcases a range of 1950s styles, is Todd Haynes’s 2015 movie, ‘Carol’, starring Cate Blanchett and Rooney Mara. Carol Aird, played by Blanchett, is of enough wealth to sport the glamourous, new fashions of the period. Costume designer, Sandy Powell studied fashion magazines including Vogue and Harper’s Bazaar from 1952-1953 to create an accurate style depiction. Whilst Carol is of wealth, showcasing high fashion, there is a clear style disparity between other characters, including Rooney Mara’s character, Therese. Many of the background styles are more reminiscent of bland 40s fashion, whilst Carol sports luxurious, eye-catching pieces and achieves a defined hourglass silhouette.

“Carol wears restricting designs that have structured undergarments underneath – waist cinchers, girdles, and bras included – to give her the silhouette” – Sandy Powell, costume designer.

Close attention was paid to the intricate details in ‘Carol’, such as the accessories and jewellery. Carol’s wardrobe was accessorised with stunning estate jewellery pieces acquired from Van Cleef and Arpels, and Fred Leighton.