HANDEL

HANDEL was the code-name for the UK's National Attack Warning System in the Cold War. It consisted of a small console with two microphones, lights and gauges. The reason behind this was to provide a back-up if anything failed.

If an enemy air strike was detected, a key on the left hand side of the console would be turned and two lights would come on. Then the operator would press & hold down a red button and give the message:

“ Attack warning RED! Attack warning RED! ”

The message would be sent to the police by the telephone carrier wave frequencies used for the speaking clock, who would in turn activate the air attack sirens using the local telephone lines. The rationale was to kill two birds with one stone, as it reduced running costs (it would most likely be used only once in its working life, though it was regularly tested) and the telephone lines were continually tested for readiness by sharing infrastructure with a public service. That means a fault could be detected in time to give a warning.

Message	How it's received	Action to be taken	Notes
Attack warning	Warbling note followed by message: "Attack warning RED!" This would be followed by a control signal, activating the powered sirens	Sound warning by activating sirens, the attack warning will be a rising and falling note.	Attack warning will be broadcast on all television and radio stations.
Fall outwarning	High pitched pip signal followed by a spoken message. For example: "Fallout warning BLACK, London!"	Fire warning maroon (firework) three times. Though in some areas, it can be three gongs or whistles creating one long note followed by two short notes forming the morse note "D-".	Fall out warning will be broadcast on the radio.
Fall out expected within the hour	High pitched pip signal followed by spoken message. For example: "Fallout warning GREY, Canterbury!"	Sound siren producing one long note but interrupted in short succession. Can also be given by church bells or word of mouth from the police and civil defence wardens	Fell out of use by the late 1960s
All clear	High pitched pip signal followed by a spoken message: "Attack message WHITE!" A steady control tone will activate the powered ones.	Sound siren giving a steady note	Further warnings may be broadcast on radio, along with information on aid for survivors and morale boosting broadcasts (There was also a "confidence tone" that demonstrated the system was working and told you to stand by for a warning at any time).

A HANDEL Warning console can be seen at the Imperial War Museum in London among their cold war exhibits, alongside the warning apparatus used by Kent Police (which was located at Maidstone police station to activate the sirens).

The Commonwealth Fashion Exchange 2018, Buckingham Palace

For the first time, The Commonwealth comes together to showcase a wealth of design and artisan fashion talent across its 53 countries. Launched by Commonwealth Secretary General the Rt Hon Patricia Scotland and Livia Firth, founder of sustainability consultancy Eco-Age, the Commonwealth Fashion Exchange is a major new initiative that promotes new networks, trade links and lasting sustainable supply chains.

The Commonwealth Fashion Exchange was conceived by ardent ethical campaigner Livia Firth. The idea was to pair designers with artisans from across the 53 nations of the Commonwealth and ask them to create one fashion look.

“This is a project rich in partnerships and creative co-design. For example, one of our very talented designers from India is paired with an artisan group in Tuvalu. As someone who is passionate about joining the threads of global fashion and creating real partnerships you can imagine how exciting it is for us to be involved.”

The launch at Buckingham Palace
On behalf of Her Majesty The Queen, Head of the Commonwealth, HRH The Duchess of Cambridge and HRH The Countess of Wessex hosted a reception to celebrate and showcase designs, designers and artisans from across the Commonwealth’s 53 countries who participated in the inaugural Commonwealth Fashion Exchange (CFE).

The reception saw 30 CFE creations displayed in the Palace’s State Apartment. From Thursday February 22, the looks were displayed at the Australian High Commission, London, before being exhibited during the Commonwealth Summit itself. Both exhibitions at Buckingham Palace and High Commission of Australia were carefully curated by VOGUE’s International Editor at Large, Hamish Bowles.

The Palace celebration included guests from the fashion industry across the Commonwealth nation with attendees including Anna Wintour, Edward Enninful, Livia Firth, Nadja Swarovski, Neelam Gill, Nigel Gosse, Ulric Jerome, Naomi Campbell, Stella McCartney, Adwoa Aboah, and Caroline Rush alongside many of the designers and artisans who created the CFE designs and representatives of the newly-affiliated Commonwealth Fashion Council.

The exhibition at the Australian High Commission, London
The looks were celebrated during London Fashion Week at a reception at Buckingham Palace on February 19th, before moving to a public exhibition at High Commission of Australia, London, on February 21st, where the exhibition was open to the public in the run up to the Commonwealth Heads of Government Summit, April 2018.

The Fashion Exchange: 31 looks, 31 designers, 31 artisans, 53 countries
The project is particularly timely as a global wave of interest in handmade products and authentic luxury causes a reassessment of the artisan fashion trades. In this way, The Fashion Exchange brings the values of the modern-day Commonwealth – women’s empowerment, ethical production and supply chains, innovation, economic growth and poverty reduction – to life through the globally appealing medium of fashion.

Asia
Celebrating both shared traditions and unique aesthetics and crafts, exchanges from Asia highlighted exquisite textiles and embellishments, from truck art to mirror embroidery and UNESCO protected Jamdani textiles.    Representing countries India, Malaysia, Bangladesh, Sri Lanka, Brunei Darussalam, Singapore, Pakistan

India x Tuvalu
Behno created a repurposed wool coat (Woolmark certified) featuring Indian mirror-work and border and grid beadwork, and a sheer dress made from remnants of blue silk organza, embellished with Swarovski crystals, and scattered with black crochet 'kolose' panels. Five women from Tuvalu, artisans from the cooperative Fafine Niutao I Aotearoa, spent a month creating the panels using a crochet technique that is particulary intricate and popular in the region.

Malaysia
Bernard Chandran created his design in fine 'songket' - a royal Malay brocade, handwoven and patterned with gold and silver threads. He drew inspiration from Malay 'kerawang' - a style of traditional embroidery that involves cutting away the base-cloth to create a lace effect, contemporising the look with a geometric feel. The strapless dress is carefully structured and the floor-length coat is embroidered with wool yarn.

Bangladesh
Bibi Russell designed a simple formal outfit consisting of a skirt, jacket, scarf with matching accessories. The look is made from hand-woven Jamdani cloth, which is unique to Bangladesh, and is considered an 'Intangible Cultural Heritage of Humanity' by UNESCO. Red has been used to emphasise happiness and joy, the beauty Bibi sees in the village of Bangladesh. Through this outfit, Bibi Russell wants to give her tribute to incredible Jamdani weavers for their magical work.

Sri Lanka
Darshi Keerthisena was surrounded by fabric from an early age, as her family began Buddhi Batiks back in the 70s. Darshi created a wrap coat dress using Seacell™ fabric made from algae and silk which was hand pleated and batiked by Buddhi Batiks' team of craft women in the village of Koswadiya, and lined with peace (Ahimsa) silk from India. The sleeves are detachable for greater versatility, and the obi belt is made from Piñatex, a pineapple-based leather alternative. The look was embellished with laser cut sequins made from Piñatex and Swarovski upcycled crystals.

Brunei Darussalam x Singapore
To celebrate the collaboration between Singapore and Brunei, the focus was on the evolution of the modern Malay woman, as it is a symbol of a shared history and identity. For this project, Na Forrér created an evening dress known as a “Baju Kebaya” – a common traditional womenswear worn by Malay women from Brunei and Singapore during formal events and festivities. The traditional corset crafted from traditional Bruneian Songket fabric is normally worn by brides and grooms for marriage ceremonies and on royal and state occasions. The boxy and high shoulder represents womens’ empowerment and modernity. The dress was made from a 100% wool crepe, featuring a hand-painted Euca silk designed by Lully Selb, and Bruneian Songket, a traditional material woven out of silk and cotton gold and silver threads. Historically, the textile of choice of Malay elite and royalty, Songket was often handed down from father to son or mother to daughter, as prized family heirlooms to be treasured and worn only for the most special of occasions. To exhibit the collaboration between Brunei and Singapore, the Brunei emblem Panji-Panji is featured in the custom textile design.

Pakistan
Rizwan Beyg's design philosophy is, and always has been, 'Pakistan Modern'. Rizwan created a skirt and coat for the Commonwealth Fashion Exchange, featuring motifs designed by the 'truck artists' of Pakistan. The pattern of the garment was first worked on by original truck artists and digitally printed on silk, after which it was embroidered by the village women of Bhwalpur.

Africa
Drawing from a myriad of diverse cultures across African countries, these exchanges tell stories of heritage, tradition, and modernisation through symbolism and social narratives. Participating countries included; South Africa, Kenya, Zambia, Rwanda, Uganda, Botswana, Swaziland, Cameroon, United Republic of Tanzania, Nigeria, Malawi, Sierra Leone, Ghana, Gambia, Mozambique, Mauritius

South Africa x Lesotho
House of Thethana in Lesotho worked under Clive’s direction to design a custom textile print, achieved by superimposing one print onto another - welding two images together to create a visual to print onto silk for the final garment construction. The fabric was then screen-printed using water-based inks on to a silk ‘sandwich’ of organza, georgette, and habotai. The look consists of a wool and organza coat with Swarovski upcycled crystals, accompanied by wool and organza shorts and a woollen collar accessory. Lucilla Booyzen of SAFW facilitated the exchange.

Kenya x Zambia / Kenya
Deepa Dosaja’s Deepa Flower Garden Gown was hand-embroidered and hand-painted, constructed from organic silk produced in Kenya, with elements of upcycled leather scraps and Swarovski upcycled crystals fashioned into floral embellishments. The embroidery and beading was crafted by Deepa’s in-house team, women who have been trained by Dosaja herself. The gown was also lined with remnant silk pieces, reflecting the brand’s ethos of reducing waste. To finish the look, Dosaja worked with Artisan Fashion, a social enterprise based in Kenya that connects over 1,000 artisans to international fashion. “Deepa’s Flowers” were crafted from sustainable cow horn and recycled brass. The neckline and the beaded belt of the gown is traditional Maasai beadwork. Also collaborating on the look is Mumwa Crafts Association in Zambia, who created a shoulder purse made from Zambian palm leaf. The purse has been embellished with Deepa Flowers crafted from recycled leather, Zambian Shitenge Fabric from Mumwa Crafts and sustainable cow horn along with a recycled brass Deepa Flowers shoulder strap from Artisan Fashion. The look was complete with a woollen shawl.

Rwanda x Uganda
Pierra Ntayombya, the creative director of Haute Baso, created a look using wool and upcycled mosquito nets, embellished with upcycled beads from traditional accessories such as necklaces and bracelets, and handmade beads from Ugandan jewellery maker Ihato. The beads are made from recycled paper, which is then cut into triangular shapes, rolled and glued, and finished with varnish. The top was made from a locally sourced mosquito net, naturally dyed grey using fermented cassava. Conventional insecticide treated mosquito nets last between 6 to 12 months therefore thousands of mosquito nets are disposed of annually to protect people from Malaria.

Botswana x Swaziland
Mothusi Lesolle of Botswana and Doron Shaltiel of Swaziland collaborated on a design that symbolised principles important to both countries: The white linen fabric represents purity, an expectation of young women in Swaziland. The red recycled paper beads raise awareness of HIV/AIDS, while the black beads signify the power in the culture of the people of Swaziland and pay tribute to the power of women. The corset was created in the shape of a shield, and symbolises the protection afforded to the Commonwealth by the Queen.

Cameroon x United Republic of Tanzania
The gown designed by Kibonen was made from lightweight Woolmark certified wool, trimmed with Maasai beading from Mgece Makory in Tanzania. Intricate embroidery features on the patterned Toghu cloth, traditionally worn by rulers of the North West region of Cameroon.

Nigeria x Malawi
This look was created with organic British wool and embellished with Swarovski upcycled crystals. The look was designed by Nkwo and named ‘Spirit of the Dance’. It is made from Aso Oke, a hand-loomed cloth woven by a group of women based in Kogi state in central Nigeria, according to a traditional craft of the Yoruba people. The piece was inspired by a secretive religion indigenous to Malawi, called Nyau. During a special ceremony, attendees wear wooden masks and act out spirits of the dead, in order to communicate with them. Avec Amour’s Angela Fuka Mpando sourced an expert wood carver from Blantyre, the second largest city in Malawi, and home to the country’s commercial industries. Carving is a traditional craft in Malawi, skills being passed from father to son. The carver produced 12 miniature masks that have been sewn into the dress and tiny upcycled mirrored embellishments are scattered over the skirt.

Sierra Leone x Ghana / The Gambia
Sydney-Davies and Big Dread Kente worked together to create a natural raffia-fringed hand-woven kente cloth midi skirt with recyclable plastic blocking, and a bralet top embellished with Swarovski upcycled crystals in queen bee motifs. The outfit was complete with an oversized bardot wrap jacket made from hand-woven gold kente cloth, hand-woven country cloth, and 100% wool, and a handmade necklace and bracelet crafted by Ousman Toure in The Gambia. The necklace was made using glass beads and wooden Malawian trade beads which were traditionally used as tender. Sydney-Davies “came across Big Dread Kente on Instagram and immediately fell in love with kente cloth and its rich history.”

Mozambique x Mauritius
Inspired by Maputo’s best-loved architect, Pancho Guedes, who shaped much of the city’s post-modernist buildings, Zinzi created a dress that represents the juxtaposition of past and present in the urban landscape of the city. The fabric nods towards the Maasai tradition for checks and the grid-like structure of the city, while the ruffles and gathers symbolise the lush vegetation and the warm sunshine dappled through palm leaves. Beautiful Local Hands’ artisans, James Warren (aka Pop) and Dany Couyava, created a necklace and bangles to accessorise the look, made from locally sourced polished coconut sewn onto beige canvas.

Pacific
Highlighting ancient traditions, exchanges from the Pacific celebrated the beauty of natural resources and the power of shared histories. Participating countries included; Samoa, Papua New Guinea, Tonga, Nauru, Fiji, The Seychelles, New Zealand, Cook Islands, Australia, Solomon Islands, Tuvalu, Kiribati

Samoa x Papua New Guinea
Afa designed his Commonwealth Fashion Exchange gown based on his love of traditional Samoan materials. The gown itself was made using linen for the central section, and a floral print from Afa’s archive, then accessorized with a sash made from the traditional Samoan material Afa, which is a yard/rope made out of coconut husk. The gown features handmade and painted flower embellishments, made by Margie Keates of The Lovely Avenue using recycled paper, and by Ofeira Asuao of AliiRas Backdrops using upycled foam. The look was complete with an original Papua New Guinea curved necklace of brown braided rope, decorated with four bands of cream coloured curled shells. The necklace is fastened by two groups of braided cord bands, each decorated with a small white shell pendant.

Tonga x Nauru
Bou selected Feta’aki for her design, a papery material made from the bark of the Mulberry tree, and lined with raw silk. The Feta’aki represents the cultural wealth of Tonga, dating back many centuries, and used as a sign of respect in gift-giving. The silk is also made from the mulberry tree and signifies wealth and prosperity. The look was complete with traditionally inspired hand-made jewellery made by Rendina Edwards from Nauru.

Fiji x Vanuatu / Seychelles
Hupfeld created an off-the-shoulder, corseted blouse from Vanuatu fibre, with a peplum finished with Fijian magimagi (coconut fibre), barkcloth and mother of pearl shells embroidered into a geometric flower pattern. The skirt was made from recycled Fijian Masi cloth (a traditional cotton fabric) which was hand-printed with geometric designs representing various parts of the region and embellished with appliqued flowers. The look was complete with jewellery created by Rolan & Anna Payet, using shells from the Seychelles.

New Zealand x Cook Islands
Karen Walker worked with a community of tivaivai craftswomen from the Cook Islands, now resident in New Zealand. Her dress was made from dusty pink Italian wool flannel and is covered in claret-coloured tivaivai embroidered flowers. The flowers are iconic flora of the Māmās’ island home and include gardenia, jasmine, orchid, fruit salad plant, hibiscus, fringed hibiscus, red ginger, frangipani and the Cook Islands national flower, Tiare Māori. Added to these are the beloved Karen Walker daisies. The 10 plant varieties are brought to life with 12 different traditional stitch styles.

Australia x Solomon Islands
The gown created by KITX has a bodice and skirt made from lightweight GOTS certified organic crepe wool sourced from a Woolmark approved mill, overlaid with a traditional straw skirt from the Solomon Islands and embellished with trochus shell beads made by hand by a cooperative of women expert at this ancient craft.

Europe
With a focus on heritage textiles, exchanges of Europe reimagined iconic garments in globally sourced noble fibres and hand coloured finishes. Participating countries included; Cyprus, United Kingdom, Malta

Cyprus x Kiribati
Afroditi designed her signature kaftan in blue silk overlaid with a printed chiffon of her own design. Through the use of buttons the look can be worn in three different ways, and has been completed with traditional ornamental beading created by artisans in Kiribati using grass, paper and shells.

UK
Burberry designed a look using the highest quality Oeko-Tex certified Australian Merino wool to create a reimagined trench coat, accompanied by woollen trousers made with Oeko-Tex certified yarns, and knitwear made with non-muelsed wool. The suppliers and manufacturers involved in creating the look are part of Burberry’s 2020 project, involved in capacity building programmes encompassing training relating to ethical performance, audits, chemical management practices, and adhering to Burberry’s code of conduct.

Malta x India
Charles & Ron created look of Woolmark certified wool crepe, with a full, floor-length skirt embellished with beaded appliqué Maltese door-knockers. The coordinating blouse features Maltese lace, and a Maltese hand-tooled leather belt completes the look. The Maltese doorknockers were designed by Charles & Ron, then sent to Khushboo in Mumbai. Khushboo is a 24-year-old woman who oversees the creation of beading and embellishments through her network of local artisans. She will select the craftsperson most suited to the various projects commissioned by Charles & Ron, then ensure that the quality is in keeping with the brand’s high standards.

UK x India
Stella created a gown using Oshadi’s peace silk, produced using ancient hand-weaving techniques, and naturally dyed by local skilled craftsmen in Tamil Nadu. Peace silk is reeled from empty cocoons, meaning that silkworms are left to hatch into moths before the silk is spun from the cocoons in a way similar to spinning wool. It takes a weaver one day to create 5m of hand woven peace silk using a hand loom, compared to hundreds that can be produced by machine.

Caribbean and Americas
An explosion of culture, history, local materials and beautiful craftsmanship, exchanges from the Caribbean and Americas celebrated diverse stories, highlighting the power of fashion for supporting livelihoods. Participating countries included; Jamaica, Belize, Canada, Namibia, St Kitts and Nevis, Grenada, St Vincent and The Grenadines, Saint Lucia, Trinidad and Tobago, Dominica, The Bahamas, Barbados, Guyana, Antigua and Barbuda

Jamaica x Belize
The skirt portion of this dress was made of individually cut flowers featuring six petals, folded together in three stages and attached to the core fabric of the garment. Fabric for the jacket and bodice was created from the selvedge offcuts of the fabric that was used for these flowers, by sewing rows of selvedge together for a subtly manipulated textile. The look was complete with a hand-made bag from MayaBags, an artisanal company in Belize working to preserve and enhance traditional Maya handwork skills. The “uh tok” or in English “Moon Spark” basket purse is made from a coiled and stitched basket frame woven of plant fiber (Jippi Jappa), covered with a Maya hand-woven fabric, lined with Dupion silk, and fastened with a coconut button and macramé loop closure.

Canada x Namibia
Lucian Matis created a gown made with a wool blend fabric, and embellished with black Swarovski upcycled crystals, inspired by the most recent oil spill in the East China Sea and the destruction caused to our oceans and ecosystems. To accompany the gown, a classic roll necklace was created by three Ju/’hoansi groups living in the eastern region of Namibia. The method for creating the beads is believed to date back 60,000 years, using ostrich eggshells that are broken in to small pieces, clipped into circles and pierced with a hole. The beads are heated to create different colours, from a pale grass tone through to black.

St Kitts and Nevis x Grenada
This Fashion Exchange gown was a meeting of minds and cultures. Keeanna, Shavaniece and Neisha explored their overlapping cultures to create “Sugar and Spice”, relating to a two day carnival in each country that showcases the large troupe costumes for the festivals of Sugar Mas and Spice Mas. The gown is an explosion of colour – pink, red, orange and yellow, with gold highlights, represented by bold bursts of Swarovski upcycled crystals across the bodice and finished with a plume of feathers.

St. Vincent + The Grenadines x Saint Lucia
Jeremy chose hemp and organic cotton jersey for his Fashion Exchange gown, tie-dyed with locally grown turmeric. The hand-painted motifs, chosen to connect to indigenous ancestors, reflect the imagery found in local rock carvings, believed to be up to 5000 years old. Nadia Jabour from Saint Lucia completes the look with a custom necklace fashioned from copper and carved coconut shells.

Trinidad and Tobago x Dominica
Meiling designed a hand embroidered gown of organdie, silk and leather, matched with a leather corset belt, tooled with butterflies made in Dominica by Vanessa Winston, and a pair of trousers made from upcycled Indian fabric.

The Bahamas
Theodore created an evening gown that represents the flora and fauna of the island nations. The cotton voile bodice is silk screen printed with leaves and palm trees while the skirt depicts seashells, turtles and sand dollars native to the region, representing the precious aquatic life and environment of Barbados, the Bahamas, and surrounding islands. The fluid skirt reflects the waters that flow around the islands and is embroidered with Swarovski upcycled crystals. The look is complete with bespoke jewellery, handmade by Catherine Rocheford in Barbados, designed to mirror the almost circular motifs of the textile design. The jewellery was made using beading, and hammered sterling silver circles with soldered silver dots, softened with an eyelash ribbon that adds additional volume.

Guyana x Antigua and Barbuda
This look was inspired by Antigua and Barbuda's National Costume and their Indigenous people, fusing elements of their Arawak tradition with their National wear. The neck of the dress was made with Burlap and covered with seeds from the shac shac (flamboyant) tree. It was created in the shape of a stick figure which represents one of the creatures that their shaman transforms into. The bodice was made with hand dyed Madras which is Antigua and Barbuda’s national fabric for their National costume. The centre of the bodice was made with palm leaves and fibres woven into a plain weave. Shac Shac seeds, jumbie seeds and buck beads create a triangular form on the front bodice of the design. The architecture of the Arawak Ajoupa (home) specifically the roof, inspired the full skirt of the dress, which was made with brown cotton and dyed burlap. The centre of the skirt was tie-dyed using natural onion skin and beetroot. Buck beads were sewn on the red panels of the skirt. Tibiseri straw (a fibre extracted from a Mauritia flexuosa found in Guyana) was woven with the palm leaves from Antigua (date palm) to create the plain weave used along the bodice of the dress as well as the front panel of the skirt. All other materials for this garment were found in Antigua.

Canada
Using a silk hand tie-dyed technique to create a print, Tanya has created a gown for the Fashion Exchange with a silk printed bodice encrusted with Swarovski upcycled crystals and a multi-colored pailette embellished skirt, using fabric from her archives.


Buckingham Palace
Buckingham Palace is the London residence and administrative headquarters of the monarch of the United Kingdom. Located in the City of Westminster, the palace is often at the centre of state occasions and royal hospitality. It has been a focal point for the British people at times of national rejoicing and mourning.

Originally known as Buckingham House, the building at the core of today's palace was a large townhouse built for the Duke of Buckingham in 1703 on a site that had been in private ownership for at least 150 years. It was acquired by King George III in 1761 as a private residence for Queen Charlotte and became known as The Queen's House. During the 19th century it was enlarged, principally by architects John Nash and Edward Blore, who constructed three wings around a central courtyard. Buckingham Palace became the London residence of the British monarch on the accession of Queen Victoria in 1837.

The last major structural additions were made in the late 19th and early 20th centuries, including the East Front, which contains the well-known balcony on which the royal family traditionally congregates to greet crowds. The palace chapel was destroyed by a German bomb during World War II; the Queen's Gallery was built on the site and opened to the public in 1962 to exhibit works of art from the Royal Collection.

The original early 19th-century interior designs, many of which survive, include widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme. Many smaller reception rooms are furnished in the Chinese regency style with furniture and fittings brought from the Royal Pavilion at Brighton and from Carlton House. The palace has 775 rooms, and the garden is the largest private garden in London. The state rooms, used for official and state entertaining, are open to the public each year for most of August and September and on some days in winter and spring.

International Fashion Showcase 2015, British Council

The British Council and the British Fashion Council will present 110 emerging designers from nearly 30 countries in the largest public fashion exhibition of its kind. The annual exhibition now in its fourth year, is free of charge and will take place at Brewer Street Car Park in London during London Fashion Week between 20-24 February 2015.

A public programme of talks and events will run throughout the showcase, including a designer mentoring programme facilitated by London College of Fashion. The Designer Support Programme will bring together a network of LCF affiliated academics and researchers, to help designers prepare for the showcase by offering them mentoring opportunities and seminars on business development during IFS. A collaboration with Fashion Scout will offer designers involved in IFS the opportunity to show their work on the catwalk.

The exhibition will also feature an area curated by On|Off showing individual designers from countries including the Netherlands, Morocco, Pakistan and Thailand.

Exhibitions:

Austria - Another Austria: Writing Fashion

For its third showcase of young fashion talent in London, ‘Another Austria’ assumes an entirely new form - a conceptually- rich exhibition themed around text and literature and its relationship to fashion and the arts.

Set in a literary themed backdrop, the exhibition is a meeting place for international writers to respond to Austria’s rising fashion scene offering a unique ‘artist to artist’ experience.

‘Another Austria’ is supported by the Arts Division and the Culture Division of the Federal Chancellery of Austria (BKA), ‘departure’ – the creative unit of the Vienna Business Agency and Advantage Austria. The exhibition is designed by polimekanos and covered by Indie Magazine

Designers include: Carolin Holzhuber, DMMJK, Inga Nemirovskaia, Jana Wieland, Katharina Perkhofer, Sabinna

Brazil - Infinity Blue In Brazilian Contemporary Art

The colour blue is formed in our vision because blue light is not absorbed like yellow and red light. It is the influence of this ‘blue infinity’ that underpins the concept of Brazil’s showcase collection, conceived and curated by entrepreneur and creative director Lenny Niemeyer.

Taking ‘infinite’ blue waters as a starting point, the exhibition showcases the works of five talented Brazilian designers. The element of water is shown in its most representative way: through the oceans and seas.

The sea is a long extension of salt water connected with an ocean. The seawater i transparent but looks BLUE, green and even gray.

Designers include: Cecilia Prado, Fernando Cozendey, Sinesia Karol, Tavinho Costa, Triya, Virzi + De Luca.

Colombia - Framework

Colombia is on the path to achieving long-lasting peace. ‘Framework’ visually mirrors this historic moment through the use of scaffolding, building-work and solid foundations – the foundations of peace.

The scaffolding structure – central to the exhibition – is so significant as it has been used since ancient times to support people and materials in the construction of new things. Running parallel to this sense of ‘the new’, the designers have each created forward-looking and innovative collections. Proportion, silhouette, technical process and textiles have been carefully considered for maximum aesthetic impact.

Designers include: Lina Ibáñez Coronado, Miguel Mesa, Julia Männistö, New Cross

Czech Republic - Once Upon A Time

‘Once Upon a Time’ presents menswear, womenswear and accessories by five young Czech designers who are connected by an archetypical quality of imagination. Re-creating long-forgotten fairy tale landscapes, they weave poetic, witty and haunting stories into fabrics, furs, metals, skins and gems.

Here, fashion meets fantasy… Prepare to play in an immersive world where dresses are worn by monkey kings and mountaineers, foxes transform into women adorned by flower-shaped silver and pearls, gravel is turned into coats and rings, a child’s drawings come to life and forests of rabbit skulls remind us of the traps of vanity.

Installation by studio deFORM

Designers include: Janja Prokić, Markéta Martíšková, Mirka Horká, Petra Ptáčková, Štěpán Růžička.

Georgia - Art Fashion – Reconstruction 2 – Academy’S Labyrinths

This conceptual art-fashion project is centred on the reconstruction of the historic building of Tbilisi State Academy of Arts, an architectural monument of cultural heritage in itself.

A true cultural crossroads, the building’s exterior appearance is both artistic and eclectic. The facade is typically European, yet inside, the Baroque co-exists with elements of late Classicist and Iranian Qajar styles. Here, art and fashion are represented as a tool and an appeal for the survival of an iconic building.

Designers include: Eloshi, Lasha Devdariani, Salome Totladze.

Ireland - In The Fold

‘In The Fold’ presents the new wave of creative minds redesigning the contemporary landscape of Irish fashion. Their shared minimal aesthetic is based on innovative approaches to the body and tailored construction.

Using the medium of fashion to question and respond to their indigenous environment, the quiet purity of of these designers and their collective output offers a restrained alternative to a society based on digital immediacy and speed.

By grounding the garments as focal points, the exhibition invites the viewer to step inside and observe their construction. This ‘slowing down’ of fashion and highlighting of the smaller craft details reveals the influence of cultural heritage and traditions on practice.

In The Fold is presented by Irish Design 2015, a year-long programme exploring, promoting and celebrating Irish design and designers in Ireland and internationally.

Designers include: Caoimhe MacNeice, Jocelyn Murray Boyne, Laura Kinsella Millinery, Michael Stewart, Rory Parnell Mooney, Naiose Farrell.

Japan - Crash Pop

Fashion is in a constant state of flux just as Japan’s natural landscape faces perpetual change.

With the passing of each year’s seasons, the land is gradually refashioned, eventually bringing great changes. It is impossible to tell when devastating earthquakes, volcanic eruptions, tsunamis or typhoons may strike, transforming the landscape in an instant.

The creativity of the Japanese people – echoing the process of natural change – is also unpredictable, producing a huge range of unique works.

The emerging designers featured in ’Crash Pop’ take inspiration from their own diverse backgrounds and reflect the reality of contemporary Japan.

Designers include: Akiko Aoki, Kotoha Yokozawa, Noriko Nakazato, Soshi Otsuki, Ryota Murakami, Wataru Tominaga, Yuki Shimane

Korea - Style Sharing

‘Style Sharing’ explores the symbiotic relationship between Korean and British styles. Showcasing the work of Korean designers inspired by British life, it will highlight distinctions between classic ‘Britishness’ and ‘Hallyu’ – a Korean term for South Korean culture’s popularity in the West.

Progressive and fast-paced modern life provides the backdrop for the exhibition, exploring the cultural exchange between Korean Culture and British Life.

The garments will reveal the relationship between British and Korean fashion, showing both how close – and how diverse – the countries are stylistically; blurring and contrasting the boundaries of fashion and culture.

Designers include: Ha Sang Beg, Heohwan Simulation, Hyunsoo Heather Park, J Koo, J Moon, Nayoung Moon, rokh.

Nigeria - 5: Metamorphosis

GuarantyTrust Bank Lagos Fashion and Design Week in collaboration with Nigerian Export Promotions Council, presents "5 Metamorphosis" - an experiment in time that admires both the naturally - subtle and wildly - obvious progressions in the trajectory of a designer's fashion artistry.

It is the designer's distinct, innate personal characteristics that creates an opportunity to bear witness to the fruition of their art. Too often, the journey of design can be a blur, but this showcase attempts to focus, contemplate and reflect on the oft-overlooked design qualities of these fashion artisans. The exhibition concept is designed by A White Space Creative Agency.

Designers include: Grey, IAMISIGO, Kenneth Ize, Orange Culture, T.I. Nathan

Philippines - Philippine Folklore: Redefining Tales

Curated by award-winning theatre designer Gino Gonzales, the Philippines exhibition at the International Fashion Showcase is an allusion to the mystery and melodrama of Philippine folk tales.

Here, six young Filipino designers investigate new shapes and forms in a theatrical and thought provoking rendition of mythical creatures from Philippine folklore. These mythical creatures evoked both irrational fear and obsessive fascination among the Filipino folks of old, and have been a rich source of captivating tales and legends that dominated culture and society.

Designers include: Jaggy Glarino, John Herrera, Ken Samudio, Michelline Syjuco, Renan Pacson, Tony Evan.

Poland - Warsaw Calling

‘Warsaw Calling’ is a response to the enthusiastic reaction of a group of influential British fashion journalists to Poland’s vibrant fashion scene. The exhibition shows the collaborative nature of fashion: designers working closely with textile, accessories and shoe designers as well as set designers to create the ‘end look’ of their collections.

Four labels: Ewa Stepnowska, kaaskas, Joanna Wawrzyńczak and Zofia Ufnalewska occupy three spaces, inspired by shop windows and Warsaw’s famous 3D theatre the Fotoplastikon.

The exhibition – overseen by Studio Design UK with shoe design by Piniak Shoe and MYS shoes and surface design by Justyna Medoń – richly mirrors Poland’s contemporary fashion scene.

Designers include: Ewa Stepnowska, k a a s k a s, Joanna Wawrzyńczak, Zofia Ufnalewska

Portugal - Bloom: Sun, Energy, Technology

BLOOM is a project developed by Portugal Fashion to discover and promote new Portuguese designers. For a second year, Portugal’s exhibition at the International Fashion Showcase will be under Bloom moniker, promoting the work of five designers.

Continuing from last year’s greenhouse, – where spectators could observe the stages of the designer’s growth and development, – this year’s exhibition will show the development of the organic greenhouse in a more technological way.

Elements that sustain and promote artificial growth will be embraced. The energy of the sun is the heart of this installation as the driving force for the growth of this new technological movement and the catalyst for nurturing talent.

The exhibition is designed Miguel Bento in collaboration with NU.AS Architects and project managed by Mario Quina and Marlene Oliveira.

Designers include: Carla Pontes, Hugo Costa, João Melo Costa, KLAR, Mafalda Fonseca

Romania - Untamed Skin – The Romanian Blouse

‘Untamed Skin - The Romanian Blouse’ shows the origins of the exquisite Romanian blouse - an untamed, yet delicate garment, traditionally worn close to the skin of its wearer and handcrafted from natural textiles and pigments and embroidered with primordial symbols and patterns.

Fashion designers Alexandru Nimurad and Alexandra Abraham and jewellery-designer Vika Tonu developed their collective clothing, accessory and jewellery collection around the blouse as an organic structure, honouring its distinctive local background and visual history.

The seductive Romanian blouse became fashionable in the interwar period when Queen

Marie of Romania began wearing it as a symbol of belonging. The blouse was made famous by Matisse and fashion luminaries Yves Saint Laurent, Jean Paul Gaultier, Emillio Pucci and, more recently, Tom Ford.

‘Untamed Skin’ is a collaboration between GALATECA Gallery of Contemporary Art and Design, Bucharest and the Romanian Cultural Institute in London.

Designers include: Alexandru Nimurad, Alexandra Abraham, Vika Tonu

Scandinavia: Denmark And Norway - Who's The Creator

The fashion world is dominated by visual impressions – the flash of the photoshoot and the spectacle of the catwalk – and yet the minds behind them often remain hidden backstage or behind the camera.

The concept behind ‘Who’s the Creator’ stems from a desire to break the monotony of fashion photography and to draw the designer into the foreground. Instead of a stream of interchangeable models, the exhibition examines the personalities behind the clothes.

Photographer Kajsa Gullberg’s candid portraits show designers wearing their own pieces, underlining the relationship between creator and creation. By presenting these images alongside the designers’ collections, the exhibition represents fashion as art installation. It offers viewers an insight into the personality beyond the brand, inviting them to consider the creative process of fashion design from a fresh – and more human – perspective.

Designers include: Tilde Bay Kristoffersen (DEN), Maria Sloth (DEN), Line Frank (DEN), Madelen Ljunggren (NOR), Peter Schamaun (NOR), Marthe Andreassen (NOR)

South Africa - Futraspective

In a showcase alongside 13 other countries in an increasingly interrelated world, we aim to show how South Africa is asserting a new identity through fashion.

The work of three designers are presented - all of whom imbue the next wave of South African self-expression through well researched, unclichéd, and ambitious design handwriting.

As the title of the installation suggests, the designers' work manages to look back with a view to looking forward - all with clear ideas about what to leave behind, and what to take with them.

Designers include: Adriaan Kuiters & Jody Paulsen, Akedo, MaXhosa by Laduma

South Africa - Futraspective

In a showcase alongside 13 other countries in an increasingly interrelated world, we aim to show how South Africa is asserting a new identity through fashion.

The work of three designers are presented - all of whom imbue the next wave of South African self-expression through well researched, unclichéd, and ambitious design handwriting.

As the title of the installation suggests, the designers' work manages to look back with a view to looking forward - all with clear ideas about what to leave behind, and what to take with them.

Designers include: Adriaan Kuiters & Jody Paulsen, Akedo, MaXhosa by Laduma

Spain - Giving Light

Society, culture and our cities constantly reinvent themselves and evolve. The Spanish

‘City of Design’, Bilbao, is a true example of how innovation may transform urban physiognomy – from an industrial space to a more human, hospitable one.

‘Giving Light’ shows the transformation of Bilbao by using light as a central element. It aims to give light to the artistic powers hidden inside each designer.

The designers in the exhibition pass through a filter of light, in a seemingly hidden, dark place. The place becomes warm and light upon examination of the details and meticulous work of the pieces on show. The young designers showcased link the artistic

movements that inspire their work with future innovation, opening up their art by expressing it in their finished garments and communicating with their audience by interacting with exhibition visitors in this game of light and shadow.

Designers include: Antxia, Daniel Santos, David Catalan, Howl by Maria Glück, Leandro Cano

Switzerland - Visionaries

‘Visionaries’ presents work from recent graduates and students of Switzerland’s two principal fashion courses. Both university courses aim to support students while they develop their own vision of fashion and also to help give shape to this vision.

The body is a blank canvas, both boundary and playground simultaneously, allowing the designers’ visions to grow. The young designers have all broken the shackles of mainstream aesthetics.

The resulting vision represents a new generation of talented Swiss designers, using their sensitive feeling for the present and future Zeitgeist. In their visions, the designers reflect on individualism and the notion of the body as a means of communication.

Tanzania - Serengeti Sirens

‘Serengeti Sirens‘ explores how femininity – particularly Tanzanian femininity – is articulated through fashion and how this expression is informed by other contemporary Tanzanian ideals of status, modesty and faith across the country.

Whatever their interpretation, the Sirens remain proud, regal and truly Tanzanian. The aim of the exhibition is to view the female form as adorned by the creations of the various designers through their eyes and their vision.

These diverse visions are all inspired by the regional nuances present throughout Tanzania, as well as exposure to global ideals – all equally valid and uniquely Tanzanian.

Designers include: An-Nisa Abayas, Eve Collections, Jacqueline Kibacha, Nakadhalika-NK, Nau Nuhu

National Museum of Costume, Lisbon, Portugal

The National Museum of Costume (Museu Nacional do Traje), created in 1976, presents to the public a collection of historical costumes, garments and accessories, dating from the XVIII century to the present day, either in permanent or temporary exhibitions. The collection is housed in the Angeja-Palmela Palace with, on its grounds, the Monteiro-Mor Botanic Park.

The museum is located in a vast property acquired by the Portuguese State in 1975. This property - a former farmhouse of eighteenth-century recreation - has an extensive green area now open to the public and known as - Botanical Monteiro-Mor park, and its headquarters are urged in an 18th century building - thePalace Angeja-Palmela.

Its purpose is to establish a strategy for the research, conservation and public exhibition of costumes and textiles. Furthermore, it has a policy of safeguarding and promoting the Monteiro-Mor Botanic Park and supporting this heritage among the community.

Preserving Green (“Conservar Verde”) is a concept that integrates the values of responsibility and sustainability, as well as the management of the cultural and natural heritage entrusted to the National Museum of Costume.

History

The Palácio Angeja-Palmela was erected in the XVIII century by D. Pedro José de Noronha, 3rd Marquess of Angeja, near the place where there was the palace of D. Afonso Sanches, natural son of Dinis I of Portugal (1279-1325).

With an unknown authorship, the palace is influenced by the architecture of Pombal, developing in two façades, one of which ends with the chapel. Of the primitive palace there remains only a sixteenth-century abutment in a residence adjoining the palace, and some 17th-century architectural structures.

The main entrance of the palace develops like a galilee and the articulation between the floors is made by a staircase of four straight stretches. In its rooms stand out the masseira ceilings, the stucco, the ornamental paintings and diverse panels of tiles setecentistas.

In 1840, the property was acquired by D. Pedro de Sousa Holstein, Marquis of Palmela and later 1st Duke of Palmela, who undertook works to improve the palace, including the reconstruction of the neo-Gothic pavilion, now occupied by museum restaurant.

From the Second World War (1939-1945), the palace became a religious college for refugee Belgians, until, in 1975, the Portuguese State acquired Quinta do Monteiro-Mor, which, in addition to the Angeja-Palmela Palace, comprises the Monteiro-Mor Palace, an 18th-century residence, the Botanical Garden and a green area of ​​eleven hectares.

The National Costume Museum resulted from a project born in 1969, presented in 1973 and consolidated with the exhibition O Traje Civil em Portugal presented at the National Museum of Ancient Art in 1974. The head of this whole process was Natália Correia Guedes, who came to be the first director of the Museum.

The 23 of December of 1976 was passed a Decree / Law  instituted the National Museum of the Costume and the Botanical Park of Monteiro-Mor.

On July 26, 1977, the museum was inaugurated by the then Secretary of State for Culture, David Mourão-Ferreira, the director of the museum Natália Correia Guedes, and the presence of the then Prime Minister, Mário Soares, with the opening of five exhibitions: History of civil and urban costume (from antiquity to 1925), complemented by the exhibition Trajo Popular (a partnership with the National Museum of Ethnology) and which was also added Opera costume, collection of Tomás Alcaide. Spinning, weaving and stamping techniques were also explored and toys from the 18th and 20th centuries were exhibited.

The private library of the museologist Maria José de Mendonça is deposited here.

Architecture

The Palace owes its current design to the 3rd Marquis of Angeja, D. Pedro de Noronha, who here designed his natural history collections, complemented by a botanical garden. In 1840, the property is acquired by the 2nd Duke of Palmela, D. Domingos de Sousa Holstein Beck.

The main façade is facing the courtyard or inner courtyard, delimited by buildings that are annexes: old stables (today - ticket office \ shop), and collections (today - workshops).

At the entrance of the Palace we can see the coats of the Marquises of Faial and 2nd Dukes of Palmela. Placed in the main axis, the two coats are surmounted by a crown of marquis finished off by a Cross of Christ, because the Marquis of Faial had been awarded with a commendation of this order.

The ground floor of the palace was originally intended for kitchen and other service outbuildings as well as various areas for family use. The main link between the ground floor and the 1st floor is made by a marble staircase and in the ceiling, features a central medallion with an eagle holding three rays in the legs.

The first floor, called the "noble floor", was intended for social interaction, and here is the noble hall, which highlights the vaulted ceiling and the profuse rocaille decoration of stucco with themes related to natural history and, in the four songs, allegories to the four seasons. Ornamental paintings of the oriental room with its chinoiseries, the frescoes of the music room and the flags' hall, as well as the various tiles of the Rato factory are mentioned.

The old chapel of the palace dedicated to Santa Rita is an interesting example of the contemporary hinge of D. Maria I, since it establishes the transition between the " rocaille " and neoclassical tastes.

The neogothic tea pavilion, built by the Marquis of Angeja to be the House of the Birds, integrated in the surroundings of the palace is currently the Monteiro-Mor restaurant.

Botanical Park of Monteiro-Mor

The Botanical Park of Monteiro-Mor covers an area of ​​approximately 11ha where stands out the garden, for its originality and botanical and landscape richness. The garden was designed by the Italian Domenico Vandelli, to be the botanical garden of the 3rd Marquis of Angeja. This was the third botanical garden to be built in Portugal, from the 60's of the XVIII century. From this time only the structure was built, steps, staircases or walls, lakes with formal design and some interesting decorative elements, such as the curved stone and a set of niches for statuary. The park started by the Marquis of Angeja, continued in the 19th century, already owned by the Dukes of Palmela, which introduces new species, such as Araucaria heterophylla or Araucaria de Norfolk, the first planted in Portugal. A cameleira, two monumental plantains, a beech, a taxod, a sequoia and two rubber trees, all with more than 150 years of existence, stand out in the park.

In 1975, with the acquisition of property by the Portuguese State, it was the silvicultural engineer Luís Filipe Sousa Lara who led his recovery and reconversion that has been without maintenance since the 60s of the 20th century. In addition to other works, the rose garden was recovered in a set of boxes with hedges of boxwood, with a design in the baroque style of the XVIII century, under the guidance of arch. landscape artist Edgar Fontes.

We find in Monteiro-Mor Botanical Park a genuine example of traditional Portuguese recreation farms, associated with the house or palace (now the National Costume Museum), a garden with lakes and waterfalls, orchards, orchards and woods. The Park is crossed by a water line of torrential regime, that enters in conduit buried until it arrives at a camarador collector. The various springs that flow into the garden make it possible to fully supply the water needs of lakes and watering during the summer.

Flora

The Botanical Park of Monteiro-Mor has a varied collection with more than 250 botanical species represented, with special emphasis on ornamental and for forestry, but also where vegetables, fruit, aromatic and medicinal are developed.

Fauna

The fauna present in the Park stands out above all the birds and a colony of bats in the underground (caves and galleries) of the palace Angeja-Palmela. During the spring, the underground of the Costume Museum can house about 200 teddy bats (Miniopterus schreibersii), a species with the status of "vulnerable" in Portugal.

Sculptures

In 1995, the Garden of Sculptures project was inaugurated in the Botanical Park, whose main objective was its enrichment, thus adding to the landscape heritage a museological aspect. Scattered in the park we have sculptures by Minoru Nizuma, Catarina Baleiras, João Cutileiro, José Lucas, Moreira Rato, Soares Franco and Leopoldo de Almeida.

Collections

The collections of the institution include collections of civilian clothing - women, men and children, national and international - and their accessories, fragments of fabrics and bragal pieces, materials and equipment that testify to the textile, costume and accessory production processes.

The first offerings of pieces date from 1974 in the registries of the National Museum of the Costume, all of them of individuals. The public collection that integrated its collection came from the National Museum of the Cars that, since 1904, collected an important collection of costumes of the Royal House.

18th century costume (Baroque and Rocaille styles, 1700 to 1789)

In the Baroque period, the female costume was generally composed of three main pieces, the bodice fitted to the bust, the skirt and the protrusion. The women dressed sumptuously, with the lace and loops on their clothing. Between 1740 and 1770, in the middle of the Rocaille period, a gentler dress appeared, with a bodice, skirt and the famous " Plis Watteau ", made up of folds of fabric that fell loose on the back, suggesting a false mantle. By the middle of the century, the "French" dress used in the grand ceremonies had ample lateral volumes, a girded bodice, and a protrusion open at the front, forming a triangular opening that showed the skirt.

The basic form of the masculine costume appeared in France at the end of century XVII, during the reign of Louis XIV, being composed by coat, vest and shorts. This group remained in the Rocaille period although the jackets were less wide and presented richly embroidered. The shorts were tight and ended below the knees. The embroideries formed floral and vegetal patterns and were made in the pieces of fabric before the cuts were made either of the jackets or of the vests.

Imperial costume (1796 to 1820)

With the French Revolution, which took place in 1789, the revolutionary ideals of " Liberty, Equality and Fraternity " combined with a taste for Greco-Roman antiquity radically transformed women's clothing. In women's attire, women abandoned their corsets and little tights, as well as their heavy, rich fabrics, their dresses were straight, waist-high, and short balloon sleeves accompanied by high gloves. The skirts reached the ankles and the tails were worn only at court.

On the eve of the Revolution, there was a great enthusiasm for the male parts of the English costume, both for the quality of their dress and for their functional appearance. But the big news this time was the introduction of trousers in the wardrobe male, from the costume of the men of the people and sailors, pants begin to be used as a symbol of the revolution, as the shorts were synonymous with the aristocratic costume.

Romantic costume (1825 to 1865)

In the nineteenth century, the era of industrialization, rapid technological advances arose in several areas of production, to which the fashion industry was no stranger. In the 50's the female costume reached its maximum expression with the introduction of crinoline. This inner frame gave a large volume symmetrical to the skirts without adding weight. The corset reshaped the female bust. The preferred fabrics were silk and cotton muslin with pattern patterns, flowers, stripes and stripes. The colors were simple and discreet, predominantly blue and green.

The men's fashion of 1850 kept the trends of the previous decades. The coats of black color or of sober tones were also used with trousers to the squares. For the night he wore a black coat with trousers and a vest of the same fabric, a shirt with a starched bib and a bow.

Costume Belle Époque (1870 to 1914)

The ladies wore two-piece dresses, composed of body and skirt, which were made with heavy fabrics and the corset remained in vogue. The skirt was worn long, accumulating draperies, trimmings, trinkets, ribbons, bows, pompons and fringes. However, the characteristic silhouette of this period was given by a voluminous interior, called tournure, applied at the back of the skirt.

In 1890, women saw the emergence of the so-called "healthy" corsets that produced a wavy S-shaped bearing. In this way the bust of the woman was erected and so highlighted that it was denominated "chest of rolls". The long, bell-shaped skirts usually had a small tail. The day dresses had a waist-high waistband and a lace bib or tulle. At night the dresses had wide necklines and the arms were protected with long gloves.

In the male costume, the frock coats and tailcoats continued to be used in most situations ceremony with top hat. For everyday life the three-piece sets - jacket, waistcoat and trousers - were worn with a bowler hat.

Costume of the 20th century

The Republic implanted in Portugal on October 5, 1910 puts an end to the monarchy and transforms the social dynamics of Portuguese life. Many formalisms and social constraints have disappeared and the arts, as well as fashion, have been the scene of several changes. Sports and outdoor activities promoted a new lifestyle, and ladies preferred men's cut-out suits, such as the tailleur. Of English origin, the tailleur formed by skirt and jacket adapted well to the walks and was especially appreciated by the young people who increasingly integrated the labor market.

1910-1918

Portuguese women quickly joined a new slim silhouette proposed in Paris by Paul Poiret. Inspired by the costume of the Napoleonic period, this couturier proposed the use of dresses to replace the two-piece womens suits used up. Her dresses showed straight lines and high waist, which allowed the woman to free herself from the corset. In Paris, the Ballets Russes de Diaghilev inspired fashion, bringing orientalizing influences for clothing through new forms, bright colors and luxurious fabrics.

The masculine costume kept the forms of the end of the last century. On solemn occasions, the coat and coat was worn, in everyday life the frock coat began to be replaced by the short coat with a vest and trousers.

1920-1930

Women's clothing has given this decade the definitive step to functionality, following the Art Deco style, characterized by a decorative and elegant geometry. The straight-line dresses with a slack waist showed her legs from her knees. The dresses for dancing were short with round or square necklines, usually with a skirt in it and sometimes covered with beads, sequins and beads. The stockings and shoes became pieces of relief, filling with colors. The colors were vivid, although black was also chosen.

In the men's costume of the 1920s, the use of coats of tweed, spined or chess-tiled coats of sober tones, accompanied by wide trousers with pleats and folds at the lower end, in plain or fancy fabric were generalized in the cities. The tuxedo has definitely become the preferred male costume for semi-informal events such as public or private dinners, dances and parties. Black in color with silk satin lapels, it was accompanied by a tie of the same tone.

1930-1946

In the 1930 's, women's dress returned to more curvaceous lines, the length of the skirt came down and the waist returned to its natural position. The evening dresses were long, with bare backs. The most appreciated fabrics were crepes and satins. The movie actresses, with their glamor, inspired women and became role models. Madeleine Vionnet created the cut in bias, a technique that gave the pieces a much appreciated elasticity and fluidity, molding the female bodies in a sensual way.

The Second World War (1939-1945) caused enormous material constraints. The rationing imposed tight and short dress pieces. The women wore tailleurs with a tight waistline, a straight-line skirt, plucked shoulders, and wide pockets that gave their silhouette a masculine, almost military-inspired stance.

1947 to 1950

With the end of World War II, Christian Dior responded to women's longings by creating a feminine and luxurious silhouette. The style proposed by the French couturier was called New-Look, as it emerged as a reaction to the functional fashion of the 1940s. Presented in Paris in 1947, he intended to restore to women the sensual aspect. This new image was characterized by the use of straight or broad skirts, very round and arched, narrow and delicate waist, small shoulders and round, and body corseted with well defined chest.

At the same time as the New Look appearance was in place, a restless, middle-class generation emerged, rejecting the materialism in force. In the United States the t-shirts were transformed into outer parts, especially after Marlon Brando have appeared with a t-shirt White in the movie " On the Waterfront " in 1954. The jeans, known as jeans, began to be adopted by young people as an expression of their rebellion.

1960 to 1970

The Sixties represented a new change in costume. Youth became a model to follow, conveying an attitude of nonconformity and contestation to the politics and mentality in force. The fashion moves left the street and began to influence the Haute Couture. Clothing manufacturers saw young potential customers and started to create parts especially for them. At the base of the feminine fashion of this decade the miniskirt, presented by André Courrèges, in 1965, and popularized by Mary Quant.

At the end of this decade appeared in San Francisco, California, the hippie movement that was before a movement of mentalities and spread through pop music. Their clothing was inspired by the international ethnic dresses: the boys wore robes of raw cotton and jeans, they had long hair and beards; the girls wore long robes, wore their hair loose with flowers, and their faces without makeup.

1980 to 2000

Ready-to-wear brands began to gain importance with the emergence of designers who, along with Haute Couture, helped to balance the massification of the fashion industry. The relative stability and prosperity of the 1980s favored, once again, the revival of traditional values ​​and tastes. However, the 1990s were international, giving a fair share to the global village. The television, fashion magazines, the tourism and the internet undid the borders, enabling the dissemination of creations have not only French but Italian, English, Japanese and American.

Ready-to-wear brands have developed at an ever-increasing pace to respond to those who wish to convey a contested appearance. On the other hand, fashion designers emerge and what came to be called "fashion author", which attributes to create an alternative of quality and style to the massification that the development of the textile and confection industry were operating.

From styles to trends, National Museum of Costume in Portugal

In a completely different spirit – a white, neutral space – is the exhibition showing XX Century Costume up to the present day.

Costume of the 20th century

1910-2000

The Republic implanted in Portugal on October 5, 1910 puts an end to the monarchy and transforms the social dynamics of Portuguese life. Many formalisms and social constraints have disappeared and the arts, as well as fashion, have been the scene of several changes. Sports and outdoor activities promoted a new lifestyle, and ladies preferred men's cut-out suits, such as the tailleur. Of English origin, the tailleur formed by skirt and jacket adapted well to the walks and was especially appreciated by the young people who increasingly integrated the labor market.

1910-1918

Portuguese women quickly joined a new slim silhouette proposed in Paris by Paul Poiret. Inspired by the costume of the Napoleonic period, this couturier proposed the use of dresses to replace the two-piece womens suits used up. Her dresses showed straight lines and high waist, which allowed the woman to free herself from the corset. In Paris, the Ballets Russes de Diaghilev inspired fashion, bringing orientalizing influences for clothing through new forms, bright colors and luxurious fabrics.

The masculine costume kept the forms of the end of the last century. On solemn occasions, the coat and coat was worn, in everyday life the frock coat began to be replaced by the short coat with a vest and trousers.

1920-1930

Women's clothing has given this decade the definitive step to functionality, following the Art Deco style, characterized by a decorative and elegant geometry. The straight-line dresses with a slack waist showed her legs from her knees. The dresses for dancing were short with round or square necklines, usually with a skirt in it and sometimes covered with beads, sequins and beads. The stockings and shoes became pieces of relief, filling with colors. The colors were vivid, although black was also chosen.

In the men's costume of the 1920s, the use of coats of tweed, spined or chess-tiled coats of sober tones, accompanied by wide trousers with pleats and folds at the lower end, in plain or fancy fabric were generalized in the cities. The tuxedo has definitely become the preferred male costume for semi-informal events such as public or private dinners, dances and parties. Black in color with silk satin lapels, it was accompanied by a tie of the same tone.

1930-1946

In the 1930 's, women's dress returned to more curvaceous lines, the length of the skirt came down and the waist returned to its natural position. The evening dresses were long, with bare backs. The most appreciated fabrics were crepes and satins. The movie actresses, with their glamor, inspired women and became role models. Madeleine Vionnet created the cut in bias, a technique that gave the pieces a much appreciated elasticity and fluidity, molding the female bodies in a sensual way.

The Second World War (1939-1945) caused enormous material constraints. The rationing imposed tight and short dress pieces. The women wore tailleurs with a tight waistline, a straight-line skirt, plucked shoulders, and wide pockets that gave their silhouette a masculine, almost military-inspired stance.

1947 to 1950

With the end of World War II, Christian Dior responded to women's longings by creating a feminine and luxurious silhouette. The style proposed by the French couturier was called New-Look, as it emerged as a reaction to the functional fashion of the 1940s. Presented in Paris in 1947, he intended to restore to women the sensual aspect. This new image was characterized by the use of straight or broad skirts, very round and arched, narrow and delicate waist, small shoulders and round, and body corseted with well defined chest.

At the same time as the New Look appearance was in place, a restless, middle-class generation emerged, rejecting the materialism in force. In the United States the t-shirts were transformed into outer parts, especially after Marlon Brando have appeared with a t-shirt White in the movie " On the Waterfront " in 1954. The jeans, known as jeans, began to be adopted by young people as an expression of their rebellion.

1960 to 1970

The Sixties represented a new change in costume. Youth became a model to follow, conveying an attitude of nonconformity and contestation to the politics and mentality in force. The fashion moves left the street and began to influence the Haute Couture. Clothing manufacturers saw young potential customers and started to create parts especially for them. At the base of the feminine fashion of this decade the miniskirt, presented by André Courrèges, in 1965, and popularized by Mary Quant.

At the end of this decade appeared in San Francisco, California, the hippie movement that was before a movement of mentalities and spread through pop music. Their clothing was inspired by the international ethnic dresses: the boys wore robes of raw cotton and jeans, they had long hair and beards; the girls wore long robes, wore their hair loose with flowers, and their faces without makeup.

1980 to 2000

Ready-to-wear brands began to gain importance with the emergence of designers who, along with Haute Couture, helped to balance the massification of the fashion industry. The relative stability and prosperity of the 1980s favored, once again, the revival of traditional values ​​and tastes. However, the 1990s were international, giving a fair share to the global village. The television, fashion magazines, the tourism and the internet undid the borders, enabling the dissemination of creations have not only French but Italian, English, Japanese and American.

Ready-to-wear brands have developed at an ever-increasing pace to respond to those who wish to convey a contested appearance. On the other hand, fashion designers emerge and what came to be called "fashion author", which attributes to create an alternative of quality and style to the massification that the development of the textile and confection industry were operating.

Trends：

The Lean Silhouette

Women promptly followed the new slender and lean silhouette proposed by Paul Poiret, who dictated fashion in Paris.

Straight Line

Dresses were straight lined and high waisted, enabling women to free themselves from the corset.

The Roaring Twenties

The 1920’s, or the Roaring Twenties, was a decade of prosperity, pursuit of pleasure, nightlife enjoyment and artistic renovation.

Straight Lines

The dresses were cut in straight lines, had low waists and showed the legs above the knees.

Nonconformist Attitude

The 1960’s typified a new change in dress. Youth became the model to take after, conveying a nonconformist attitude and opposing politics and mentalities of the time. Fashion movements came from the streets and influenced Haute Couture.

The Avant-Garde

Paco Rabanne, André Courrèges and Pierre Cardin embodied the avant-garde tendencies of the 1960’s and were associated with the futuristic fashion.

The Maxi-Skirt

Young fashion trends in the seventies included the maxi-skirt, hot pants and long trousers.

Return to Nature

Defiance to the establishment with a non-violent, utopian ideology defending the return to nature.

The Seventies

Yves Saint Laurent was the couturier who represented the height of chic in the seventies and his name became a synonym for elegance.

Ready to Wear

Yves Saint Laurent was the man who set the image of the 1970s, although he had launched in 1966 the trouser suit and the Haute Couture smoking for women. His ready-to-wear creations issued fundamental articles for the modern women clothing.

Ecological Consciousness

In the nineties the ecological consciousness is emphasized and news forms of spirituality emerge, and there are new ideas coming to the fore based on a broad, global humanitarian outlook.

The Minimalist

Fashion developed in two major directions: the minimalist and the spectacular.

Portuguese Fashion

A large number of portuguese fashion designed have emerged and been successful since 1980s.

National Museum of Costume in Portugal

The Museu Nacional do Traje e da Moda is located in Monteiro-Mor Palace, in Lisbon, Portugal. It has a collection of 33.000 items, which includes mainly masculine and feminine costumes from the 18th and 19th centuries.

The museum is located in a vast property acquired by the Portuguese State in 1975. This property - a former farmhouse of eighteenth-century recreation - has an extensive green area now open to the public and known as - Botanical Monteiro-Mor park, and its headquarters are urged in an 18th century building - thePalace Angeja-Palmela.

Its purpose is to establish a strategy for the research, conservation and public exhibition of costumes and textiles. Furthermore, it has a policy of safeguarding and promoting the Monteiro-Mor Botanic Park and supporting this heritage among the community.

Collections

The collections of the institution include collections of civilian clothing - women, men and children, national and international - and their accessories, fragments of fabrics and bragal pieces, materials and equipment that testify to the textile, costume and accessory production processes.

The first offerings of pieces date from 1974 in the registries of the National Museum of the Costume, all of them of individuals. The public collection that integrated its collection came from the National Museum of the Cars that, since 1904, collected an important collection of costumes of the Royal House.