When I say "bias cut", what probably comes to mind is sultry, clinging evening gowns from the 1930's or the 1990's. But a bias cut can be used to great effect in tailored garments as well.
Image from Threads Magazine
What is bias cut? The straight grain of a fabric, either vertical or horizontal, has no stretch, unless it is a knit or is woven with a stretch fiber such as spandex or lycra. But when you turn the pattern 45 degrees, you are cutting on the bias, which has a gentle give and allows a softer and more fluid result. Using fabric cut on the bias is challenging, as it can stretch out of shape during the sewing process, so it requires more time and care to avoid distortion of the garment.
Here are a couple of examples of tailored garments with a bias cut from 1963, both made of linen. Notice how cutting the stiff linen on the bias gives these garments more softness, shaping, and fluidity. At the same time, the weight of the fabric allows the garment to float away from the body without clinging, a plus during the heat of summer.
An overblouse dress by Norman Norell in magenta linen. The front of the overblouse is cut on the bias so it floats softly over the underdress, but contours lightly to the body. A leather sash slips through slits in the front princess seams and is tied at the waist for more definition.
This shift dress by Ben Reig is fashioned from brown linen. A front zipper is hidden behind the decorative placket. Notice how the dress floats next to the body while the bias cut of the linen allows subtle shaping.
Just added at Couture Allure, this early
60's overblouse dress by Herbert Kasper in black rayon. The overblouse is cut on the bias for fluid shaping that softens the square cut.
Christian Dior
Originala white wool fleece coat with dramatic fox fur collar. 
Ben Reig white wool lace sack dress,
B. H. Wragge white wool doeskin dress with relaxed shape.
B.H. Wragge white wool jersey swimsuit.
Could you just die? This stunning ensemble was designed by Omar Kiam for Ben Reig in the spring of 1949. The floral fabric is an Onondaga silk styled by Philip A. Vogelman. The little capelet jacket slips on over a sheer white blouse with pearl buttons. The pearls are echoed in a triple strand choker at the neck. Can you see the ingenious draping of the skirt? Click on the picture for a larger view if you like.
Image from Threads Magazine
An overblouse dress by Norman Norell in magenta linen. The front of the overblouse is cut on the bias so it floats softly over the underdress, but contours lightly to the body. A leather sash slips through slits in the front princess seams and is tied at the waist for more definition.
This shift dress by Ben Reig is fashioned from brown linen. A front zipper is hidden behind the decorative placket. Notice how the dress floats next to the body while the bias cut of the linen allows subtle shaping.
Beads - they add that touch of sparkle to an evening gown that draws the eye and makes a woman feel special. Beaded fringe moves as you do, to create even more shimmer and shine. The above dress, by Ben Reig, was featured in the October 1963 issue of Vogue magazine. This dress would have been designed by Eva Rosencrans, whom we've discussed in the past. The bracelet is by Miram Haskell.
Beading dates back thousands of years, but glass seed beads, such as those used above, did not exist until about 1480, when Murano glassmakers in Venice invented a technique known as the hollow cane drawn method. Molten glass was gathered on the end of a tool called a puntile, a bubble was incorporated into the center of a gather of molten glass, and a second puntile was attached before stretching the gather with its internal bubble into a long cane. The pulling was a skilled process, and canes were reportedly drawn to lengths up to 200 feet long. The drawn tube was then chopped, producing individual drawn beads from its slices. In this way, glassmakers were able to produce large quantities of beads in a shorter time. 
Eva Rosencrans worked in partnership with her sister-in-law, Nettie Rosenstein in a wholesale business named Nettie Rosenstein starting in 1931. They worked by draping dresses directly on medium sized live models, which meant that their designs flattered average American women. Another unique aspect of the business was that each dress was sewn by one seamstress from start to finish, rather than by assembly line. They kept the line exclusive by only selling to one store per city.
