From royal silk dresses to digital fashion: the evolution of fashion through the ages

Dubbed “The Father of French Haute Couture,” Charles Frederick Worth was a household name among 19th-century elites. Originally from England, he relocated to France in 1845, beginning modestly with a shop selling accessories. His ascent coincided with the rise of the Second French Empire in 1852, a period that brought renewed prosperity and intellectual vibrancy to Paris. By 1858, Worth had founded an exclusive women’s tailoring , ouse. Thanks to Austrian Princess Pauline von Metternich, he gained the favour of Empress Eugénie, consort to Napoleon III. From that moment on, his name became synonymous with luxury at the highest echelons of society.

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Worth introduced the pleated silhouette and brought the billowing gown into fashion, a look that defined women’s wear through the 1870s and 1880s. His custom creations were so masterfully made they would later become coveted by collectors and museums, a legacy that endures into the 21st century.

By the close of the 19th century, fashion began to reach beyond the upper class. While haute couture remained the domain of the elite, more affordable options emerged for the growing middle class. Department stores such as Harrods, Galeries Lafayette, Lord & Taylor and Woodward & Lothrop redefined the shopping experience, transforming it into a physical and social activity.

“Department stores were traditionally women’s shopping destinations,” notes Professor Elaine Abelson, author of When Ladies Go A-Thieving: Middle-Class Shoplifters in the Victorian Department Store (1989). “Most of the items sold there were clothes, hats, and haberdashery. Men’s clothing was also sold, but it was not the main item. The men’s section usually had a separate entrance from the women’s section.”

At this turning point, fashion was no longer the preserve of the elite. Shoppers with a shared interest in style could now try on the latest trends in bustling department stores. The demand for ever-changing fashion quickly surpassed the capabilities of manual tailoring, which required time, labour, and significant cost. Designers were under pressure to keep pace. In response, the sewing machine emerged, revolutionising production by shortening stitching time and creating neater, more consistent garments.

It is unclear who actually invented the first sewing machine. But the earliest design, dated 1790, is credited to Thomas Saint. His patented machine featured a hand crank but existed only in drawings. In 1830, Barthélemy Thimonnier introduced a functioning machine that enabled him to open the world’s first dressmaking workshop, producing uniforms for the French army. In 1846, Elias Howe developed what would become the first sewing machine in the United States, significantly improving the design by using a lock stitch, which offered greater durability than the chain stitch seen in earlier models.

Designer Gabrielle Chanel once offered a thought that still lingers: “The most beautiful colour in the world is the colour that suits you.” Her words can be interpreted in more than one way. It may refer to hues that flatter one’s skin tone or suit a particular occasion. But it also speaks to something deeper: the colour of one’s personality. Wearing designer fashion may not ensure beauty, but when clothing resonates with one’s character, it tells the world who you are.

Challenging convention in the pursuit of individuality became the prevailing spirit of fashion in the early 20th century. The growing influence of feminism left its mark on design. Dresses grew less voluminous, corsets were discarded, and sleeves were shortened or removed altogether. One landmark example is the little black dress, introduced by Chanel in 1926—a minimalist, knee-length silhouette that redefined the meaning of black, imbuing it with power and quiet confidence.

The post-war period ushered in yet another shift in how fashion was imagined. In the late 1940s, material shortages inspired a move towards romanticism, celebrating femininity through delicate, structured detailing. In 1947, Christian Dior, later dubbed the “designer of dreams,” unveiled his New Look collection, a dramatic departure from the restrained silhouettes of wartime. The Bar jacket, with its sculpted waist and billowing pleated skirt, captured the longing for prosperity and emotional restoration after years of austerity.

Measured in human terms, fashion in the 1960s and ’70s represented adolescence, bold, rebellious, and intent on rewriting the rules. The term “Youthquake” perfectly captures the cultural energy of the time, where music, art and fashion became tools of expression and liberation. Many designers rejected convention altogether. The movement known as anti-fashion, though a rebellion against aesthetic norms, was still deeply rooted in fashion. By tossing aside traditional proportions and structure, designers made room for radical self-expression.

In this spirit of defiance, designers of the era embraced fashion as a language of freedom. Mary Quant emerged as a leading figure of the Mod aesthetic. While she never claimed to have invented the miniskirt, she certainly cemented its status as an emblem of youthful irreverence. At the height of the trend, she famously described the ideal hemline as “about four inches from the buttocks.” In a 1995 interview, she reflected with delight: “Look at me! They say I have a wonderful life.”

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The influence of technology has deeply transformed how designers engage with their craft. Today, ideas can be brought to life in virtual environments, with artificial intelligence and 3D printing techniques giving rise to trompe l'oeil effects of astonishing realism. A number of designers have distinguished themselves by merging technical innovation with traditional artistry.

One such figure is Dutch designer Iris van Herpen, who has pioneered the use of 3D printing in haute couture, a realm that celebrates painstaking craftsmanship and time-honoured skills. In 2010, she unveiled the “Crystallisation” dress, among the first couture garments to incorporate 3D elements. In collaboration with TU Delft University of Technology, she developed a technique known as Foliage, enabling intricate designs to be printed directly onto delicate, translucent fabrics.

There are now fashion houses operating entirely in the digital realm. One such example is The Fabricant, the world’s first digital-only label, which made headlines in 2019 by auctioning a fully virtual dress for US$9,500 just a year after its founding. Created in collaboration with artist Johanna Jaskowska, the surreal garment marked a bold entry into an emerging couture era shaped by technology and imagination.

The increasing application of tech in high fashion also highlights another pressing concern: the environment. According to the United Nations Environment Programme, the fashion industry ranks as the second-largest consumer of water and contributes roughly 10 per cent of global carbon emissions, more than all international flights and maritime shipping combined. In response, designers and brands alike are seeking innovative solutions to lighten fashion’s environmental footprint.

When it comes to embracing advanced technology with a conscience, Stella McCartney’s name is impossible to overlook. The British designer has long championed sustainability, not as a fleeting trend but as a lasting mission. Her approach blends ethical innovation with elevated design, setting an example for the wider fashion industry. As the creator of the first vegan It Bag—the Falabella, a slouchy faux-leather tote edged in signature silver chain—McCartney has worked to prove that conscious fashion needn’t sacrifice style or luxury.

But her efforts are far from symbolic. The Stella McCartney brand has outlined concrete goals, including achieving net-zero emissions by 2040. To reach this, it aims to cut greenhouse gas emissions by 75 per cent by 2030, a bold undertaking rooted in a long-term vision for both the planet and the generations to come.

Fashion design speaks in a language that transcends words. It holds within it the stories of its creators, while simultaneously capturing the aesthetic mood and cultural outlook of its time. To engage with fashion is not merely to admire silhouettes and textures; it is to understand the spirit of an era through the interplay of cut, shape and material.

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