corsage (n.)youdaoicibaDictYouDict
late 15c., "size of the body," from Old French cors "body" (see corpse); the meaning "body of a woman's dress, bodice" is from 1818 in fashion plates translated from French; 1843 in a clearly English context. Sense of "a bouquet worn on the bodice" is 1911, American English, apparently from French bouquet de corsage "bouquet of the bodice."
fashion (n.)youdaoicibaDictYouDict
c. 1300, fasoun, "physical make-up or composition; form, shape; appearance," from Old French façon, fachon, fazon "face, appearance; construction, pattern, design; thing done; beauty; manner, characteristic feature" (12c.), from Latin factionem (nominative factio) "a making or doing, a preparing," also "group of people acting together," from facere "to make" (see factitious).

Especially "style, manner" of make, dress, or embellishment (late 14c.); hence "prevailing custom; mode of dress and adornment prevailing in a place and time" (late 15c.). Meaning "good style, conformity to fashionable society's tastes" is from 1630s.
To call a fashion wearable is the kiss of death. No new fashion worth its salt is wearable. [Eugenia Sheppard, "New York Herald Tribune," Jan. 13, 1960]
In Middle English also spelled faschyoun, facune, faction, etc. Fashion plate (1851) originally was "full-page picture in a popular magazine showing the prevailing or latest style of dress," in reference to the typographic plate from which it was printed. Transferred sense of "well-dressed person" had emerged by 1920s. After a fashion "to a certain extent" is from 1530s. Shakespeare (c. 1600) has both in fashion and out of fashion.
Gibson girl (n.)youdaoicibaDictYouDict
"woman considered stylish at the turn of the 20th century," 1894, named for U.S. artist and illustrator Charles Dana Gibson (1867-1944), whose main model was his wife, Irene Langhorne (1873-1956). The Gibson cocktail (gin, vermouth, and a pearl onion) is attested by 1914, in some stories ascribed to him but the origin of the term is unknown.
"She looks like a Gibson girl" is not an uncommon saying; and to look like a Gibson girl, is not without its merits. Although our artist has expressed in his drawings disapproval of women usurping the spheres of men, his girls suggest intellectuality. He has none of the doll-like inanely pretty faces which artists used to give women in olden days. His girls look as if they would have opinions of their own and would act with discrimination in the affairs of life. They are tall and graceful and although not in the least like fashion plates, their clothes are becoming and fit perfectly. [National Magazine, May 1898]