The history of fashion design refers to the development of the fashion industry that designs clothing and accessories. The modern industry, based around a company or fashion house run by an individual designer, began in the 19th century with Charles Frederick Worth who from 1858 was the first designer to have his labels sewn into the clothes he created.
Before the mid-19th century the division between haute couture and ready-to-wear did not really exist. All but the most basic basic clothes of women's clothing are made by clothing makers and tailors who deal directly with clients, and match their body shape. Hats, gloves and similar accessories are mostly made ready for use and sold in stores as they are today. Tailor works with men in the same way.
The design of these outfits is increasingly based on print design, especially from Paris, circulating throughout Europe, and anticipated in the provinces. Seamstresses will then interpret these patterns as best they can. Its initial design was a garment designed by the most fashionable figures, usually in court, in the capital, along with their tailors and tailors. Although there has been a distribution of dressed dolls from France since the 16th century and Abraham Bosse has produced fashion carvings in the 1620s, the pace of change increased in the 1780s with the rise of French-engraved publications depicting the latest Parisian style. In 1800, all Western Europeans dressed the same (or thought they were); local variations became the first sign of provincial culture and then became the symbol of conservative farmers.
Around the beginning of the 20th century fashion magazines began to incorporate photographs and become more influential. All over the world these magazines are highly sought after and have a profound effect on the public taste. The talented illustrators - among them are Paul Iribe, Georges Lepape, Ertà ©  ©, and George Barbier - attract interesting fashion plates for these publications, which include the latest developments in fashion and beauty. Perhaps the most famous of these magazines is the La Gazette du Bon Ton founded in 1912 by Lucien Vogel and regularly published until 1925.
Video History of fashion design
Before 1900
Couture Beginning. Rose Bertin (July 2, 1747 - September 22, 1813) is a seamstress for Marie Antoinette, Queen of France. Sometimes called the sarcastic "Minister of Fashion", he opened a shop in Paris and had a major influence on the Parisian style, until this drastically changed by the French Revolution, from which he escaped into exile to London for several years.
As an outsider to the French Court, Marie Antoinette relied on Bertin's meticulous designs to help her "fight her enemies with style". Marie Antoinette's unique fashion preferences such as masculine riding pants or simple sashes, contrast sharply with her intricate dress as the Queen seeks to create a persona that will allow French citizens to connect with her and her lifestyle. Although Marie Antoinette's efforts are largely unsuccessful, Bertin's ways of helping the Queen articulate herself through fashion are breakthroughs and set a precedent for the king who follows.
An Englishman living in Paris, Charles Frederick Worth (1825 - 1905) is usually seen as the first designer in the modern sense of the term, with a large business that employs many anonymous tailors and tailors. A former cloth trader, Worth's success is such that he is able to dictate what they should wear to their customers. Launched into the spotlight as principal designer of Empress Eugà © nie, Worth uses his royal connection to gain recognition and clients. The proclamation of 1 February 1853 by Napoleon III that no visitors would be accepted into his palace without formal attire meant that the popularity of the Worth-style dress became unbelievable. Arranged with ornaments and constructed from the finest materials, Worth's dresses are famous for their crinolines (a cage-like metal structure that holds the dress in a stylish form). Throughout the early 20th century, almost all high fashion came from Paris and a bit of London. Fashion magazines from other countries send editors to Paris fashion events. Department stores also send shoppers to Parisian shows, where they buy clothes to copy (and openly steal style lines and trim other people's details). Both the artificial salon and the ready-made department display the latest Paris trends, tailored to the store's lifestyle assumptions and targeted customer booklet.
Maps History of fashion design
1900s
The clothes worn by the fashionable ladies during the Belle era were very similar to those worn in the glory of fashion pioneer Charles Worth. By the end of the 19th century, the horizon of the fashion industry in general had expanded in part because of the more stable and independent lifestyle adopted by wealthy women and the practical clothing they demanded. However, Belle mode ÃÆ' â € ° poque still retains an elaborate, plated style from the 19th century. Fashion changes are unthinkable, so the use of different ornaments is what differentiates one season from another.
The conspicuous waste and conspicuous consumption define the fashion of this decade and the clothing of the couturiers at that time was extraordinarily plush, ornate, and painstakingly crafted. The curvaceous S-Bend silhouette dominates the fashion until about 1908. The S-Bend corset pushes the chest forward into the mono-breast, and, with the help of cushioning, slim slim placement in clothing, and, especially, special posture completely independent of the corset, silhouette "S". Toward the end of the decade, Paul Poiret introduced a design that did not include a skirt or a corset. This is a big change, because a woman's waist is formed by a corset since the Renaissance, eventually taking the S figure out of fashion.
Maison Redfern is the first fashion house to offer women a special suit based directly on their male counterparts and a very practical and elegantly elegant outfit soon became an integral part of a well-dressed ladies' wardrobe.
1910s
During the early years of the 1910s fashionable silhouettes became much more supple and fluid, and softer than in the 19th century. When Ballet Russes did Scheherazade in Paris in 1910, a madness for Orientalism took place. Fashion designer Paul Poiret was one of the first designers to translate this fashion into the fashion world. Poiret's clients soon turned into harem girls in flowing pantaloons, turbans, and bright colors and geisha in exotic kimono. Paul Poiret also designed the first clothes a woman could wear without the help of a maid. The Art Deco movement began to appear at this time and its influence was evident in many couturier designs of the time. Simple hats, turban, and tulle clouds replaced the popular headgear style of the 20th century. It is also important that the first real fashion show was held during this period in time, by Jeanne Paquin, one of the first female couturiers, who was also the first Parisian pouturier to open foreign branches in London, Buenos Aires and Madrid.
The two most influential fashion designers of the time were Jacques Doucet and Mariano Fortuny. French designer Jacques Doucet excels in the layered pastel colors and his elaborate gossamery dress gives the impression of a ray reflecting Impressionist impression. Her esteemed customers never lose their appetite because of the fluid lines and the soothing and cool materials. Adhering to the imperatives that leave little to the imaginations of women, Doucet is an extraordinary taste and discrimination designer, a role many have tried, but rarely with Doucet's success rate.
The Venice-based designer, Mariano Fortuny y Madrazo, is a curious figure, with very little in common at any age. For her clothing design, she creates special processes and new coloring techniques. She gave Delphos a name on her long, shaggy dress with color. Each garment is made of the finest silk, its unique color is obtained by repeated dyeing on dye which has the shades of moonlight or the reflection of water from the Venetian lagoon. Straw breton, Mexican cochineal, and indigo from the Far East is one of the ingredients used by Fortuny. Among his many followers are Eleonora Duse, Isadora Duncan, ClÃÆ'Â © o de MÃÆ' Â © rode, Marchesa Casati, ÃÆ' â € ° milienne d'AlenÃÆ'§on, and Liane de Pougy.
The change in clothing during World War I was dictated by needs rather than fashion. As more and more women are forced to work, they demand more suitable clothing for their new activities. Social events must be postponed for a more urgent engagement and the need to mourn the growing number of people who died, visits to the wounded, and general gravity at the time meant that darker colors became the norm. A new monochrome display appears unfamiliar to a young woman in a comfortable state. In 1915 the fashionable skirt had risen above the ankle and then to the mid-calf.
The golden age of French fashion
The period between the two World Wars, often regarded as the Golden Age of French fashion, is one of the great changes and reforms. Haute couture finds new clients in the ranks of film actresses, American heirs, and the wives and daughters of wealthy businessmen.
1920s
Immediately after the First World War, radical changes emerged in fashion. Bob hairstyle strayed short, dress with a long train gave way to pinafores above the knee. The corset was abandoned and the ladies borrowed their clothes from the men's wardrobe and chose to dress like boys. Although, initially, many couturiers were reluctant to adopt new androgynous styles, they embraced them with a vengeance from around 1925. A chest and non-bodied silhouette appeared and an aggressive sauce was reduced with striking feathers of boas, embroidery and accessories. The flapper style (known in France as the 'garÃÆ'§onne' look) is becoming very popular among young women. Cloche hats are widely worn and sports have become popular with men and women over the decade, with designers like Jean Patou and Coco Chanel popularizing sporty and athletic looks.
The great couturiÃÆ'¨re Coco Chanel was the main character in fashion at the time, as much for his magnetic personality for his chic and progressive designs. Chanel helped to popularize bob hairstyle, small black dress, and the use of knitted shirts for women's clothing; and also improve the status of jewelry and knitwear.
Two other prominent French designers in 1920 were Jeanne Lanvin and Jean Patou. Jeanne Lanvin, who started her career in fashion as a milliner, made beautiful clothes for her daughter, Marguerite, so people started asking for a copy, and Lanvin immediately made a dress for their mother. The name Lanvin appears in the fashion yearbook from about 1901 onwards. However, in the 1920s he reached the peak of popularity and success. The Lanvin style embraces the look of time, with skilful use of intricate ornaments, fascinating embroidery, and beaded decorations in bright, lucid floral colors that eventually become the Lanvin trademark. In 1925, Lanvin produced many different products, including sportswear, fur, underwear, men's fashion, and interior design. Its global approach to fashion signifies the scheme to be adopted by all the great contemporary fashion houses in their quest to diversify. Jean Patou's style has never been mainstream, but is full of originality and characterized by the observed simplicity that made him famous, especially in the American market. Much of his clothing, with clean lines, geometric motifs and cubism, and a blend of luxury and practicality, are designed to meet new lifestyles for outdoor life, and have a remarkable similarity to modern sportswear. Supporters of the most famous style is Suzanne Lenglen, the legendary tennis champion.
In menswear there is an informal atmosphere that grows, among Americans in particular, which is reflected in a fashion that emphasizes youth and relaxation. In the past, there was a special outfit for every event on the day a nice-dressed man, but a young man in the 1920s, no longer afraid to show off their youth, began wearing the same soft wool suit throughout the day. A short coat jacket replaced the old long jacket that is now only used for formal occasions. Men have a variety of sportswear available for them, including sweaters and shorts, commonly known as underwear. For the night wearing a short tuxedo is more fashionable than a tailcoat, which now looks rather old-fashioned. The London slice, with thin lines, loose sleeves, and soft shoulders, refined by an English tailor Scholte, is very popular.
The Fair Isle pattern became very popular for both sexes. Heels, at the time, was often more than two inches tall and helped popularize the two-tone shoes of one of his trademarks. Salvatore Ferragamo and Andrà ©  © Perugia are two of the most influential and respected designers in footwear. Many [silent film] stars had a significant influence on fashion during the 1920s, including Louise Brooks, Gloria Swanson, and Colleen Moore. The light and forward-looking models of the 1920s gradually ceased after Wall Street Crash in 1929, and succumbed to a more conservative style. While the flapper's display lasted until 1930, it quickly disappeared after that, although the bell-shaped hat survived until 1933.
1930s
In the 1930s, when the public began to feel the effects of the Great Depression, many designers found that the crisis was not a time to experiment. Fashion is becoming more compromised, aspiring to defend the victory of feminism while rediscovering the elegance and sophistication of the subtle and convincing. Overall, the 1930s outfit was grim and modest, reflecting the difficult social and economic situation of the decade. Women's clothing moved away from the brash, brave 1920s to a more romantic feminine silhouette. The waistline is restored, the lines fall to almost as long as the feet, there is a new appreciation of the breasts, and the unsweetened evening gowns and thin and slim day dresses become popular. The woman's body was overhauled into a more neo-classical form, and a slender, toned, and athletic body became popular. The mode for outdoor activities stimulates the couturiers to produce what today will be termed as "sportswear." The term "ready-to-wear" has not been widely used, but the boutiques have described such clothing as "for sport". In lieu of the flapper haircut, a standard 1930s woman hairstyle is a simple, short perm.
Two of the most prominent and influential fashion designers of the 1930s were Elsa Schiaparelli and Madeleine Vionnet. Elsa Schiaparelli showed her first collection in 1929 and was immediately greeted by the press as 'one of the rare innovators' of the day. With its appealing and inventive design, Schiaparelli has not changed much of fashion for destroying its foundations. The first pullover he put on his window created a sensation: it was knitted in black with a white arc of trompe-l'oeil. He has consistently turned out to be a famous collection afterward. Schiaparelli is a close friend of Christian BÃ © Ã… © rard, Jean Cocteau, and Salvador DalÃÆ', who designed embroidery motifs for him and inspired models such as table suits with drawers for pockets, shoe-hats, silk-painted silk dresses and carrying large lobster , each. All of Paris crowded her salon at 21 Place VendÃÆ''me as a collection of successful collections.
Madeleine Vionnet finds her inspiration in ancient sculptures, creating timeless and beautiful dresses that will not seem out of place in the Greek decor. The queen bias cuts (cut diagonally across the fabric lengthwise yarn), he produces a body-mounted evening gown without excessive or simulated elaboration, using flowing and elegant lines. The perfect draping of chiffon, silk, and Moroccan crÃÆ'ªpe creates a wonderfully quiet and sensual effect. The unrivaled success of Vionnet's cuts guaranteed its reputation until retirement in 1939.
Mainbocher, the first American designer to live and work in Paris, was also influential, with its simple yet elegant design, often using a bias cut spearheaded by Vionnet. Manufacturers of luxury goods HermÃÆ'¨s began selling hand-made silk scarves in the early 1930s, in addition to popularizing zippers and many other practical innovations. Towards the end of the decade, women's fashion wearing a rather impressive silhouette and broad shoulders, probably influenced by Elsa Schiaparelli. Menswear continues the informal and practical trends that have dominated since the end of the First World War.
mid-twentieth century
After World War II, Paris's reputation as a global fashion center began to collapse. The new youth style emerged in the 1950s, changing the focus of fashion. In the West, traditional differences between upper class and working class are challenged. In particular, the new young generation wants to reap the benefits of a booming consumer society. Privilege becomes less advertised than in the past and the difference is more polished. As an ancient European hierarchy reversed, the external signs of difference faded away. By the time the first rocket was launched into space, Europe was more than ready to adopt quality ready-to-wear clothing along the American line - something to occupy the middle ground between off-the-peg and couture. This need is all the more urgent as the increase in overhead costs and raw materials begin to throw hand-made clothing to the sidelines. Meanwhile, the rapidly growing new technology makes it even easier to produce the ever-increasing high quality products.
Faced with the threat of factory-made products, fashion-based, couture fashion in Paris boosted its defenses, but had little effect. While the old world takes its last course, change in fashion is one of the most common manifestations of public shaking in society. Soon, the women's classes that are up to now limited to a lower replacement for haute couture will enjoy enormous enlarged freedom of choice. Dealing in much larger quantities, production cycles last longer than couture workshops, which means that the stylist who plots their lines for the collection twice a year should try to guess more than a year earlier what their customers want. The new authorities have taken over - the road, which is a further threat to the couture dictatorship.
1940s
Many fashion houses were closed during the Paris occupation during World War II, including Maison Vionnet and Maison Chanel. Some designers, including Mainbocher, moved permanently to New York. In the great moral and intellectual re-education programs undertaken by the French state, couture is not allowed. Unlike the stylish and liberated Parisienne, the Vichy regime promoted the model of wife and mother - a strong and athletic young woman - a figure much more consistent with the political agenda of the new regime. Meanwhile, Germany took over half of what France produced, including high fashion, and is considering relocating the French couture haute to Berlin and Vienna. The archives of Chambre Syndicale de la Couture were confiscated, including, most importantly, the client list. The essence of all this is to break the monopoly that should threaten the dominance of the Third Reich.
Due to difficult times, hemlines crawl up both in day and day wear, the latter being made using replacement materials whenever possible. From 1940 onwards, no more than four meters (thirteen feet) of cloth was allowed to be used for the mantle and a little over a meter (three feet) for the blouse. No belt can be more than 3 cm (one and a half inches) wide. Nevertheless, haute couture does its best to keep its flag flying. Humor and frivolity became a popstar way to counter the power of occupation and couture survival. Although some argue that the reason it borrowed was due to the protection of wives of the Nazi-rich, in fact, the record reveals that, apart from the usual rich Parisiennes, it is an eclectic mix of wives of foreign ambassadors, clients of the black market, and various other customers of the salon (among which only German women are minorities) who keep the doors (closed) open in fashion houses such as Jacques Fath, Maggy Rouff, Marcel Rochas, Jeanne Lafaurie, Nina Ricci and Madeleine Vramant. Around the time of the world war, most of the money was spent on missions, equipment for soldiers and equipment needed to win the war. This demand leaves the fashion industry with little or no material for production. Housewives along with actual designers are abandoned by reusing old cloths or creating new styles of old clothes.
Hairstyles that work are standard, though during the 40s, it evolved into bob scrolls along the bottom of the hairline.
During the Occupation, the only correct way for a woman to show off her luxuries or add color to clutter is wearing a hat. In this period, hats are often made of pieces of material that should have been discarded, including pieces of paper and wood shavings. Among the most innovative milliners of the time were Pauline Adam, Simone Naudet, Rose Valois, and Le Monnier.
The isolated situation of Paris in the 1940s allowed Americans to fully exploit the ingenuity and creativity of their own designers. During the Second World War, Vera Maxwell presented clothing consisting of simple and simple co-ordinators, and introduced innovations in men's work clothes. Bonnie Cashin turned shoes into a major fashion accessory, and, in 1944, started an original and imaginative sports production. Claire McCardell, Anne Klein, and Cashin formed a remarkable trio of women who laid the foundations of American sport, ensuring that ready-made clothing is not considered second best, but an elegant and comfortable way for modern women to dress.
In the War Period, the zoot suit (and in the French zazou suit) became popular among young men.
Many actresses at the time, including Rita Hayworth, Katharine Hepburn, and Marlene Dietrich, had a significant influence on popular fashion.
The couturier Christian Dior created a tidal wave with his first collection in February 1947. The collection contains dresses with prominent statues, small hollows (or "wasps"), and an enormous full skirt, emphasizing the hourglass figure feminine in a manner very similar to Belle's style ÃÆ' â € ° poque. The use of fancy fabrics and feminine elegance from design appeals to postwar clients, and ensures Dior's metoric rise to fame. The sophistication of this style instigated the very powerful editors of Harper's Bazaar America, Carmel Snow, to exclaim 'This is a new look!'.
1950s
Flying in the face of continuity, support and logic, and sociological predictions of learning, fashion in the 1950s, far from revolutionary and progressive, more widely used than the previous decade. The entire society which, in the 1920s and 1930s, strongly believed in progress, is now much more cautious. Despite the fact that women have the right to choose, to work, and to drive their own car, they choose to wear a dress made of plush material, with a corset waist strap and a skirt spinning into the middle. When the mode looks back in time, haute couture experiences something that revives and spawns a great deal of star designers who benefit greatly from rapid media growth.
Throughout the 1950s, though for the last time, women around the world continued to submit to the Paris haute couture trend. The three most prominent of the Paris couturiers at the time were CristÃÆ'³bal Balenciaga, Hubert de Givenchy, and Pierre Balmain. Luxurious luxurious prince, CristÃÆ'³bal Balenciaga Esagri made his fashion debut in the late 1930s. However, it is only after the postwar years that this highly original designer's creative scale became real. In 1951, he completely changed the silhouette, extended his shoulders and took off his waist. In 1955, he designed a tunic dress, which later developed into a 1957 camisole outfit. And finally, in 1959, his work culminated in the Imperial line, with a high-waisted gown and a mantle cut like a kimono. Mastery of design and creation against trust. Balenciaga is also famous as one of the few couturiers in fashion history who can use their own hands to design, cut, and sew a model that symbolizes the height of his art.
Hubert de Givenchy opened his first couture home in 1952 and created a sensation with his separation, which can be mixed and adjusted at will. The most famous is his Bettina blouse made of shirting, which is named after his top model. Soon, boutiques were opened in Rome, Zurich, and Buenos Aires. A man of extraordinary taste and discrimination, he, perhaps more than any other designer of the day, was an integral part of a world of gracious elegance that he helped define.
Pierre Balmain opened his own salon in 1945. It was in a series of collections called 'Jolie Madame' that he experienced his greatest success, from 1952 onwards. Balmain's vision of the elegantly dressed woman is distinctively Parisian and is characterized by glamor tailored to the "New Look", with its large chest, narrow waist, and full skirt, with the mastery of assemblies and imaginative fabric collections in subtle color combinations. His sophisticated clients are also equally at home with sophisticated elegance, simple sewing, and a more natural look. Along with his haute couture work, this talented businessman pioneered the ready-to-wear variety called Florilege and also launched a number of highly successful perfumes.
Also important is the return of Coco Chanel (who hates the "New Look") to the fashion world. Following the closing of his salon in the war years, in 1954, over the age of seventy, he made a comeback and on February 5 he presented a collection of ideas to be adopted and copied by women around the world: his suit small braids famous for gold chains, glossy costume jewelry, silk blouses in colors matching suits, fine tassels, monogram knobs, flat black silk bows, sailors, chain-lined bags, and evening dresses and feathers are the wonders of simplicity.
Despite being an upscale fashion designer, American Born Mainbocher also designed military uniforms and civil service. In 1952, he redesigned the Women's Navy service uniform that combined femininity with functionality. Previous redesigns include uniforms for WAVES (Women Received for Emergency Volunteer Service) in 1942, and a uniform design for Girl Scouts Girls of America and the American Red Cross in 1948.
The "New Look" Dior (which aired in 1947) revived the popularity of the girdle and the all-in-one corset. In the early 1950s, many home coutures used an interest in "basic clothing" to launch their own line, as soon as many lingerie manufacturers began to build their own brands. In 1957, Jane Russell wore a "Kantilever" bra scientifically designed by Howard Hughes to maximize the exciting look. The invention of Lycra (originally called "Fiber K") in 1959 revolutionized the underwear industry and was rapidly incorporated into every aspect of lingerie.
After the war, the American look (consisting of broad shoulders, flower ties, straight-legged pants, and sharp long-pointed shirts, often used to hang out rather than put in) became very popular among men in Europe. Certain London producers ushered in a revival of Edwardian elegance in a men's fashion, adopting a retro style strictly intended to appeal to the traditionalists. This display, originally intended for the respectable youth about the city, translates into popular fashion as Teddy's boy style. The Italian look, popularized by Caraceni, Brioni, and Cifonelli, is picked up by an entire generation of elegant young lovers, on both sides of the Atlantic. The boxes are very common in the 1950s male mode, both for shirts and suits, along with "ducktail" haircuts, often seen as a symbol of teenage rebellion and banned in schools.
During the second half of the 1950s, there was a general movement toward less formal clothing, especially among men. The fedora and Homburg hats, as well as the trench coats, disappeared from widespread use (this trend had begun many years earlier on the more informal West Coast in the US) after becoming a standard part of menswear since the 1920s.
The Hollywood designers created a special glamor type for American movie stars, and the clothes worn by the likes of Marilyn Monroe, Lauren Bacall, or Grace Kelly are widely copied. Quantitatively, the costume worn by an actress in a Hollywood movie would have a much larger audience than a dress photo designed by a woman illustrated in a magazine read by no more than a few thousand people. Even without trying to trace all the Parisian styles, the costume designers focused on their own version of classicism, which was meant to be immortal, flattering and photogenic. Using fancy materials, such as sequins, chiffon, and feathers, her clothing is cut very simply, often including impressive details, such as a low piece to a dress that is only revealed when the actress backs her from the camera. or some really amazing accessories. Hollywood's most influential and respected designers from the 1930s through the 1950s were Edith Head, Orry-Kelly, William Travilla, Jean Louis, Travis Banton, and Gilbert Adrian. Women's everyday clothes during this decade consist of long coats, hats with small hoods, and leather gloves. Knee-length dress, combined with a pearl necklace, made instantly popular by Queen Mamie Eisenhower. Short, permed hair is the standard hairstyle of women in those days.
By the end of the decade, unusual, mass-produced clothing has become much more popular than it was in the past, providing unprecedented access to the general public to a fashionable style.
1960s
Until the 1960s, Paris was considered a fashion center throughout the world. However, between 1960 and 1969 there was a radical upheaval in the basic structure of fashion. From the 1960s onwards, there will never be any prevailing trends or modes but a large number of possibilities, inexorably associated with influences in other areas of community life. The prosperity and the emergence of different teen culture, combined with the counter-cultural movement, will all have a profound effect on fashion.
After 30 years of conservative clothing styles, the 60s saw some sort of setback to the 1920s with women once again adopting a childlike look with bob haircuts and less and less simple clothes. In the early decades these skirts were knee-length, but steadily becoming shorter and shorter until the mini skirts appeared in 1965. By the end of the decade, they had raced far above their superiors, making the transition to tights unavoidable.
Many radical changes in fashion developed on the streets of London, with talented designers like Mary Quant (known for launching miniskirts) and Barbara Hulanicki (founder of the legendary boutique of Biba). Paris also has new and revolutionary designer stocks, including Pierre Cardin (known for his visionary and skilfully cut design), AndrÃÆ'Â © CourrÃÆ'¨ges (known for his futuristic outfits and for launching miniskirts with Mary Quant), Yves Saint Laurent (known because of its elegant revolutionary mode), and Emanuel Ungaro (known for his imaginative use of bold baroque colors and contrast). In the United States, Rudi Gernreich (known for his avant-garde and futuristic designs) and James Galanos (known for his ready-to-wear luxuries) are also reaching young audiences. The main outlet for this young fashion designer is a small boutique, selling clothes that are not exactly 'one-off', but are made in small quantities in a variety of sizes and colors are limited. However, not all designers take a new style and atmosphere well. In 1965, Coco Chanel took a rearguard action against knee exposure and Balenciaga firmly continued to produce a feminine and conservative design.
The basic shape and style of time is simple, neat, slim, and colorful. Hats have started to decline in the previous decade and are now almost extinct except for special occasions. Lower kitten heels are a beautiful stiletto replacement. The tapered toes gave way to the chiseled fingers in 1961 and became an almond leg in 1963. Flat boots also became popular with very short dresses in 1965 and eventually they got up and reached the knees.
The 60s for the first time saw a variety of popular hairstyles, including bobs, pageboy pieces, and honeycomb.
Two prominent and influential designers in the 1960s were Emilio Pucci and Paco Rabanne. Emilio Pucci's clothing design and prints inspired by Ops art, psychedelia and medieval banners earned him a reputation far beyond the circle of high-end society. Her sleek shift dress, tunic, and beach clothes, create 'Puccimania' which is part of the movement to liberate the female form and the design is now synonymous with the 1960s. Francisco Rabaneda Cuervo (later Paco Rabanne) opened his first couture home in 1966 and, from the beginning, produced a very modern design. Instead of using conventional clothing materials, he creates clothing from aluminum, Rhodoid, and scraps of scrap metal. The design, as well as experimental, is also closely aligned with what young young adventurers want to wear. One of his innovations was the infinite dress that was made, after many experiments, by spraying vinyl chloride into mold, and low-cost disposable clothing made of paper and nylon thread. Rabanne was also the first fashion designer to use a black model, which almost led to his dismissal from Chambre Syndicale de la Couture Parisienne. The perfume's success, Calandre, helps support the less favorable areas of his work, while his utopianism convinces him a unique position in the conservative haute couture world.
The main change in men's clothing in 1960 was on the weight of the cloth used. The selection of materials and methods of manufacture result in a suit that, because of its lighter weight, has a completely different look, with lines closer to the body's natural shape, causing men to see their figures more critically.. The spread of jeans serves to accelerate the radical changes in men's cabinets. Young men grow their hair into their collars and add a touch of color, and even flower motifs, to their shirts. The polo neck never succeeded in replacing the tie, but the adoption of a coarse jacket in the crude corduroy, and especially the mao jacket proved to be more than a political assertion. Some futuristic rumbling was triggered by Pierre Cardin and Andre CourrÃÆ'¨ges, but the three-piece suit was still intact.
In the early 1960s there was an influential celebrity and fashion designer, Audrey Hepburn's most famous, with Givenchy, and Jackie Kennedy with Oleg Cassini. Also, many models have a very profound effect on fashion, especially Twiggy, Veruschka, Jean Shrimpton. At the beginning of this decade, the stylish dumplings and bikinis finally became fashionable in 1963. The hippie and psychedelic movements of the decade also have a strong influence on the style of clothing, including bell-bottom jeans (designed by British tailor Tommy Nutter , from his Savoy store), tie-dye and batik fabrics, and paisley prints.
1970s
Nicknamed 'my' decade; 'Please yourself' is the slogan of the 1970s. Some see it as the end of good taste. This decade began with the continuation of the hippie look in the late 1960s, with kaftans, Indian shawls, and floral prints. Jeans remain tattered and bel-bottomed, tie dye still popular, and fashion for unisex mushroomed. A large movement that claims civil rights for blacks combined with the influence of soul music from the United States creates nostalgia for African and African cultures. A radical chic appears, influenced by people like James Brown, Diana Ross, Angela Davis, and Black Panthers, in everything from afro hair styles to platform soles. During the 1970s, brands greatly increased their international market share. Hems began to fall in 1974 down the knee, until it reached mid-calf midway in 1977 and the shoulder line was dropped. After 1975, the fashion became dominated by the "disco look" which included hairy hairy women and in men, a casual three-piece suit. Bell-level pants will remain popular for a full decade.
Perhaps the two most innovative fashion designers of the 1970s were Kenzo Takada and Sonia Rykiel. The undeniable Parisian fashion star of the 1970s, Kenzo draws inspiration from around the world, combining Western and Eastern influences with fantastic joie de vivre and an instinctive understanding of what his young customers want. With fluid lines, unusual prints, clever accessories, and makeup that until now has never happened before, get ready to turn the fashion world upside down. The knitted queen of figures, in 1974, Sonia Rykiel designed her first pullover with an upturned suture. However, more than that, he created a variety of clothing that is very individual and can not be used almost anywhere. The Rykiel style, dominated by fluid knit clothing, dark blacks, rhinestones, long boa-like scarves and small knitted hats, conquered the American market, and even today Rykiel is considered by many Americans as Chanel's true successors.
Due to punk, London maintained a considerable degree of influence on fashion, most significantly in the boutiques of King's Road, where the Vivienne Westwood boutique, SEX, which opened in 1971, exploded with strong winds. The English iconoclasm shrine is centered on fetishistic accessories and clothing ranges where black rubber and steel buttons are external signs of underlying sadism. Postmodernist and iconoclastic in essence the punk movement was a direct reaction to the economic situation during the economic depression of the time, a vehicle for deeper hatred than politics. Punk is essentially a manifesto of creation through chaos. With their torn t-shirts, native American hairstyles, Doc Martens, slavery pants, and chains, the bastards export the whole disgusted feeling around the world.
Another popular British style is a very unusual, feminine clothing style, and is controlled by Laura Ashley, which consists of a long stinging skirt and a high-necked blouse in a traditional floral print, worn with a knitted scarf. Laura Ashley began running a small business in Wales in the mid-1960s and the company continued to grow until the accidental death of its owner in 1985. Laura Ashley was not the only nostalgic designer to the past. Clothing based in the 1920s, 30s, 40s, and 50s was popular throughout the decade, with Hollywood movies such as The Godfather and The Great Gatsby , and many exhibits about historical costumes at the Metropolitan Museum of Art in New York are increasing in popularity. In Japan, the fashionable Harajuku district boutiques in Tokyo sell many traditional versions of rebranded English and America.
In the United States, the general trend in fashion is simplification and longer skirts, although many women react negatively to the length of midi, which they perceive as aging. Pants, on the other hand, get unanimous approval. Jeans took the most profit from being a part received from the American fashion world in the 1970s, the new honor they found coming from their inclusion in the collection under the sports title. The new stars of American ready-made garments adapt best of what they learned from Europe to the large American clothing industry. Calvin Klein and Ralph Lauren rose from anonymity more or less simultaneously to address the question of designing clothes for men and women in the new world. Two opposing movements dominated fashion in the US during the 1970s. On one hand, there is a customized and invisible display; on the other hand, a fluid, unstructured style with a strong sense of 1930s glamor. The most influential American designer of the time, Roy Halston Frowick (known as Halston), belongs to the latter category. Gaining celebrity status in New York, her special talent is to reconcile clothes made for special events with the concept of comfort, naturalness, and relaxation. With kaftans, shirtwaisters, djellabas, ultra light shift dresses, and tunics worn over shorts and wide-legged pants, he is an icon of the era, and visitors remain in the VIP Studio 54 room once opened in 1977.
Geoffrey Beene, praised for his elegant and sophisticated pieces and their black and white use, was the most successful in a radically simplified design in which he excelled. Her clever little gowns and clasped clothes in t-shirts, flannels and wools were instrumental in preventing American women from over-accessorizing. Bill Blass, who launched his own reach in 1962, developed travel habits throughout the United States to hear for himself what his customers wanted. One of the most popular designers of the time, he was almost too successful in fulfilling his customers' wishes. The style of discipline and workmanship is highly favored by business women and the wives of senior executives. Betsey Johnson started designing for Boutique boutiques. Using vinyl and metal fabrics and emphasizing intelligence, imagination, and independence, he brought an unprecedented spirit of irreverence to New York in the 1970s.
In popular fashion the glam rock clothing style, worn by rock players like David Bowie and Marc Bolan, is very influential, especially in England. Designer Elio Fiorucci has a very similar look. The boutiques in Milan sell items such as brightly colored rubber boots, plastic daisy sandals, faux fur, and inspired Pop Art jackets.
During the 1970s a new generation of menswear boutiques emerged, aiming to change the decor, ritual, and customer base of 'hard' traditional trades. To sell fashionable clothes to a young man in the late 1960s still, in many circles, is tantamount to questioning his masculinity. Men's appearance changed more in the 1970s than it did throughout the century. Many fashion designers who revolutionized the look of men owe much of their innovation to Pierre Cardin: narrow shoulders, tight lines, no ties, no interfacing, zip-up boiler suits, jackets or twisted tunics, sometimes no clothes. Workwear provides inspiration for a less formal style, encouraging designers to look beyond traditional dress and, for example, adopting a unisex look or investigating the massive supply of used clothing. Sometimes this type of menswear, often censured as a 'hippie', gains formal recognition as a deliberate display. At other times, as part of the retro movement, the designers introduced a revival of elegance in the 1930s. The digging back old military clothing, preferably khaki and from the United States; British-style shoes; Oxford T-shirt; a tidy shirt; tweed jacket with padded shoulders; V-neck sweater brightly colored; a cashmere scarf printed on the neck, all imposing a certain uniformity on the casual look of men's dress in the late 1970s.
Also significant is the development of Italian fashion that occurred during that period. In the 1970s, as a result of ready-made industries, Milan confirmed its status as second only to Paris as an international fashion center. The 'alta moda' favored Rome, the base of Valentino couturiers, Capucci, and SchÃÆ'¶n. Utilizing the predominantly Italian anti-mode trends offering glamor that has nothing to do with Paris haute couture orders. While benefiting from a clear style, fashion is fancy and easy to use. The two most influential Italian fashion designers of the time were probably Giorgio Armani and Nino Cerruti. Giorgio Armani produced his first collection for women in 1975. From the beginning, the line was dynamic, urban, and understated, androgynous in inspiration. Armani offers a very controlled style of interest to the increasing population of women who now have access to the world of work and occupy an increasingly senior position in it. This was just the beginning of a remarkable career, which began to bear fruit in 1981 when Emporio Armani was launched. In 1957, Nino Cerruti opened the men's clothing boutique Hitman in Milan. As a man of taste and wisdom, in 1976 he presented his first collection to women. Two years later, he launched his first perfume. In connecting the career of a successful industrialist with high-quality designers, Cerruti occupies a unique position in Italian ready-made clothing.
End of the twentieth century
During the late 20th century, fashion began to diverge from international borders quickly. Popular Western styles are adopted around the world, and many designers from outside the West have a huge influence on fashion. Synthetic materials such as Lycra/spandex, and viscose become widely used, and fashion, after two decades of searching for the future, once again turned to the past for inspiration.
1980s
The society of the 1980s no longer criticized itself as a consumerist, but rather interested in 'spectacle'. This self-conscious self-image of the decade is great for the fashion industry, which has never been an ÃÆ' la mode. The fashion show is transformed into a media-saturated spectacular and often aired on television, taking high priority in social calendars. The performance is related to performance, which is very important for the whole generation of young urban professionals, whose desire to see the part related to the desire for power. The way in which men and women are associated with the latest styles is no longer a matter of passive submission but disco music is quickly disliked as the decade begins, along with the clothing-related styles. In 1982, the last trace of the 1970s fashion was lost.
During the 1980s, mullets became standard male and female haircuts wearing large rugs, although there were many variations of both. Jumpsuits become a popular element of women's clothing and in men, lean tie and sunglasses cover. Also during the 80s, aerobics were popular and brought into the Spandex-style leggings and headbands.
Two of the most appropriate French fashion designers describe it as a man and Azzedine Alaia. Strongly influenced by his early career in the theater, Thierry Mugler produced a fashion design that combines Hollywood retro and futurism, with rounded hips, sharp shoulders, and a touch of galactic hero. Mugler's glamorous dresses were incredible, and marked the end of an unstructured hippy and silhouette era. Known for its stunning combination, Azzedine Alaia greatly influenced the silhouette of women in the 1980s. Master of all types of techniques previously known only for haute couture, he experimented with many new and underused materials, such as spandex and viscose. The sheer completeness, simplicity and sheer sexiness of Alaia's look makes women of every generation identify with their seductive style, and during the 1980s she achieved a certain glory and was highly respected by her own profession members.
Also creating a design that is so distinctive from that era of Claude Montana, that imposing, broad-shouldered design, often made of leather, would not seem out of place in the futuristic universe of Thierry Mugler, and Christian Lacroix, which sent shockwaves through the haute couture world, with its floating skirts, embroidered corselets, busyness, and polka dotted crinolines that evoke flamenco rhythms.
A number of promising newcomers entered the fashion scene in the 1980s. Angelo Tarlazzi, an outstanding technician who once worked for Patou, bewitched both the press and his customers with his handkerchief dress. Made from cloth boxes, they realize, when you come to wear them, it becomes much more complicated than it originally appeared. Many of Paris's 1980s ideals are enlivened by her dresses, all in a fluid and original style, where cutting and sewing are kept to a minimum. Chantal Thomas, the sexy stockings queen and lace, won a loyal following for tempting underwear and for evening dresses that looked like nightgowns and vice versa. Guy Paulin was one of the first designers to promote a bad, simple, and untidy look. His classic clothes are in their proportions and are made for comfort and simplicity, with their harmonious lines reinforced by fine color palettes and fine materials. Under his own name, Joseph designed a luxurious knitwear along the classical line, creating loose and sexy clothes with neutral colors. Carolina Herrera, long regarded as one of the most elegant members of the jet, in 1981 launched a series of collections aimed at women like her, displaying high quality impeccable clothes and attractive evening dresses.
Japanese designers such as Rei Kawakubo and Yohji Yamamoto offer a look that marks the total pause with the current fashion image. Flat shoes, no make-up, spare, decency, and secrecy are the hallmarks of this modern look. Finally, he began to enter the details of the fashion of the past, because the ancient sites of Europe were revisited by the anarchists of this mode, whose influence on the form of clothing, at the end of the 20th century, became legendary.
In American style, Donna Karan's seductive and seductive style and casual sophistication of Ralph Lauren are very influential. As a star in the New York social scene, Donna Karan brings a very personal and feminine approach to the serious, calm, and casual look that dominates ready-made American clothing. Setting up its own label in 1984, its designs gained instant popularity among active urban women who deeply appreciated the luxury of their clothes. In 1971 Ralph Lauren opened a boutique for men and women in Beverly Hills. His aristocratic style with the average price of Americans creates a sensation. For an elite faced with all kinds of avant-garde styles, it represents a gathering point, supporting a classic look that has been adopted for an active life. Number one of America's ready-made clothing, Lauren was as successful as her sportswear and jeans, allowing her to reach the widest range of social classes and age groups.
America's new wave success center is the Perry Ellis label, founded in 1978, which uses natural and color fibers to great advantage in its graceful variations. Norm Kamali, with short skirts made of sweatshirting, leotards, headbands, and leg warmers, makes jogging look fashionable. Kamali also created a popular 'hura-rah' skirt. Also famous is the extreme popularity of the Adidas sports label, which achieved extraordinary street trust levels in the 1980s, instigated the hip hop Run DMC group to release the single 'My Adidas' in 1986. Legendary shoe designer Manolo Blahnik also climbed for fame during the 1980s.
The many trends that developed during the 80s were limited by the economic recession that occurred in the early 1990s, largely destroying the optimistic atmosphere that greatly benefited the fashion industry.
1990s
In the 1990s it was no longer a thing to follow in reckless fashion, a sharp contrast to the very fashionable 1970s and 1980s. Underdressed phobia is finally completely displaced by the fear of overdressing. Fashion in the 1990s united around the new standards, minimalist, and stylish simplicity that became conspicuous in fashion. Although there are best efforts of some designers to keep the flag for the pretty dress flying, by the end of the decade the idea of ​​luxury clothing has completely disappeared. In addition to the styling of the product, its promotion in the media becomes crucial to its success and image. The financial pressures of this decade have had a devastating effect on the development of new talent and reduced the autonomy enjoyed by more established designers.
Fashion at the end of the 20th century tackles themes that have never been embraced by previous modes. These themes include rape, disability, religious violence, death, and body modification. There was a dramatic move away from the sexy style aimed at the glamorous femme fatale of the 1980s, and many designers, taken with the vision of romantic poverty, adopted the poverty-stricken style, wore a cruel and bizarre pallet. , with a face without makeup. Clothes by ready-made retailers like The Gap, Banana Republic, and Eddie Bauer are at the forefront of fashion, managing the needs of women who only want comfortable and wearable clothing. Retro clothing inspired by the 1960s and 1970s was popular in the 1990s.
The famous Italian fashion house, Gucci was created in 1921, by Guccio Gucci and originally a company that sells fancy leather goods. Under Guccio Gucci's children, in the late 1960s the label had been expanded to include a large number of products with obvious Latin glamor. However, only in the 1990s, when Gucci's heirs gave control of the company to Invest Corp., who planned to change the business, did really start enjoying the kind of success enjoyed in the present. Hiring an unknown designer, Tom Ford, as director of design in 1994, the fashion house was blessed with great prestige, as Ford sparked a tidal wave with a chic and shocking collection of perfumes for men and women, boutique-altered, and advertising campaigns. In 1998 Gucci was named "European company this year" by the European Business Press Federation. Today is the second best-selling fashion brand (after LVMH) worldwide with US $ 7 billion worldwide in 2006 according to BusinessWeek magazine.
In the 1990s, Prada's designer labels became a true creative force in the fashion industry. The Milan company was first established in 1923, two years after Gucci, and like Gucci, it is a company that sells high quality shoes and leather. Until the 1980s, Miuccia Prada, the company's founding nephew, began producing ready-made clothing, gaining fame for the subtle, yet unassuming style of luxury, which was reserved for special young women who preferred to belittle flamboyant glamor.
In America three of the most influential fashion designers of the time were Michael Kors, Marc Jacobs, and Calvin Klein. Michael Kors founded his own business in 1980. However, it was only in the 1990s that the designer reached its peak of popularity. His knowledge and awareness of trends enabled him to produce good simple clothing, whose sophistication and elegance appealed to a new generation of wealthy American customers interested in a new style of chic minimalism. Marc Jacobs was one of America's most famous designers of the time, unlike many American fashion designers in the past, he was not so much as a mass-production garment coordinator as a designer in the European sense. One of the most promising talents in the fashion industry at the time, the LVMH (Louis Vuitton-Moet Henessy) group offered him the job of designing a ready-made line to complement the de-luxe product of Louis Vuitton luggage specialist in the late 1990s. One of the first fashion designers to anticipate the globalization of the world market, renowned designer Calvin Klein began to market its fashion, perfume and accessories not only in the United States but also in Europe and Asia, achieving unparalleled success.. As a brilliant artistic director, Klein uses carefully crafted ads containing erotic-colored pictures to promote his sophisticated functional manufactured designs, which won massive popularity among urban youth in the 1990s, an.
The group of designers known as 'Antwerp Six' (so named because they are all graduates of the Royal Academy of Fine Arts in Antwerp), which first appeared in the 1980s, became famous in the 1990s. Three of the most influential groups are Ann Demeulemeester, Dries van Noten, and Walter Van Beirendonck. Ann Demeulemeester, from her first collection in 1991, showed great confidence and creativity. Naturally inclined to underestimate, it builds its design on contradictions, introduces contrasting elements into fluid and slender modes, which appeal to women who dress, above all, to please themselves. The work of Dries van Noten was founded on the mastery of a solid sewing art, in which the young designer added fantasy touches in a very personal style. Successfully classical and original, the fashion style appeals to those who prefer to express their individuality rather than follow the trend. Walter Van Beirendonck, who erupted into the fashion scene in 1995, produced a clear futuristic design under his label W & amp; LT (Wild and Lethal Trash). By deliberately using the fabric developed by the latest technology, with a very contrasting color, it produces clothing filled with erotic and sadomasochistic references, touched with spicy humor. Its very distinctive approach has to do with the rise of anti-mode, but this time it is anti-mode with no ethnicity at all about its origin, instead based on science fiction that inspires to show such high-spirited provocation.
In Italy, Gianni Versace, with its brilliant, sexy, and colorful designs, and Dolce & amp; Gabbana, in their superfeminine and fantastical style, broke away from the most serious and conscious minds that dominated during most of the 1990s. British designer Vivienne Westwood produced many influential and popular collections in the early 1990s, which included clothing inspired by 18th-century prostitutes and the Marquis de Sade, with rounded hips, bodice, and platform heels. London-based Rifat Ozbek designers are also popular, especially in New York and Milan. His young style, blended with reference to Indian, African and Turkish origins cleverly picked up clothing history, reminiscent of the coolest nightclubs and more embarrassing street fashions of the time. Rap music was a prominent influence on popular fashion and street during the early and mid 1990s. Hip Hop followers adopt large jeans, similar to those worn in American prisons, with large patterned shirts and thick black shoes. The Nike sports label has great popularity and materials such as Lycra/spandex are increasingly used for sportswear. Raising environmental awareness and animal rights even make top couture homes like Chanel introduce fake and natural fibers fake into their collections.
See also
References
Further reading
- Breward, Christopher, Fashion Culture: a new history of fashionable clothes , Manchester: Manchester University Press, 2003, ISBN 978-0719041259
- Hollander, Anne, Looking Through Clothing , Berkeley: University of California Press, 1993, ISBN 978-0520082311
- Hollander, Anne, Gender and Suits: the evolution of modern clothing , New York: Knopf, 1994, ISBNÃ, 978-0679430964
- Hollander, Anne, Eating Eat: essay , New York: Farrar, Straus, and Giroux, 1999, ISBN 978-0374282011
- Hollander, Anne, Fabric of Vision: clothes and curtains in paintings , London: National Gallery, 2002, ISBN 978-0300094190
- Kawamura, Yuniya, Fashion-ology: introduction to Fashion Studies , Oxford and New York: Berg, 2005, ISBNÃ, 1-85973-814-1
- Lipovetsky, Gilles (translated by Catherine Porter), The Empire of Fashion: dressing up modern democracy , Woodstock: Princeton University Press, 2002, ISBN 978-0691102627
- Martin, Richard (1998). American Ingenuity: Sportswear 1930s-1970s. New York: Metropolitan Museum of Art. ISBNÃ, 0870998633 Source of the article : Wikipedia
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