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Transcript of Atestat Lb Engleza
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Colegiul Naţional ,, Nicolae Bălcescu”
Atestat de competenţă lingvistică
Candidat: Coordonator:
Ene Andreea-Paula prof.Barnovschi Gabriela
Brăila
2016
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Motivation
Fashion comes and fashion goes but the fashion designer remains forever. Let us at
the onset of this discussion analyze what fashion really is. Fashion is the name given tothe mode of dress and make up at any given time.
Fashion is not anything that is static, or stays for any length of time, it just goes and
comes, and goes just to return at some later date when people have forgotten the past.
Fashion also keeps changing and this change is the backbone of all time fashion.
People look at fashion as a way to express yourself. ou may not know this but
fashion also involves more than just imitating others. !t is a form of non"verbal
communication that provides a way for people to express their identities and values. #o, !know that you may think that fashion is not important. $hat people should find other
ways to be creative, like joining an art class, or getting into photography. %aybe you
think that nowadays the clothing choices are just not all that great, and ! agree with you in
part. %aybe you think that you can look professional without making a big deal about it.
&nd trust me all of these reasons are completely valid and you have the right to think this
way. 'ut in this case the pros outnumber the cons. $hat(s why ! decided to talk about
fashion and how did it change the world overtime.
!n this report ! will be writing about three different time periods which
experienced three different types of fashion. ! will first explain the fashion of the )*+-s
using an indepth description of the type of fashion designs that were popular in this time
period. ! will then explain its significance and how it effected the decade. ext, ! will
provide examples of the fashion in the )/0-s and then continue to discuss how it has
effected society and how it compares to the effects fashion has had on the )*+-s. ! will
then explain the fashion in the )/1-s describing the types of clothes worn and for what
purposes, as well as the effect it has on the culture and how that compares to the )/0-s.Lastly ! will overview all three time periods and compare how they have changed. #o,
overall ! will be discussing the general similarities and differences between the three
periods ! have mentioned and also ! will remind the most important fashion designers
from 2.3 and 2.#.&
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Summary
1.Introduction to the world of fashion......................................................................02!rom the "eginning...................................................................................................4
2.1. 1900’s........................................................................................................................ 2.2. 1910’s........................................................................................................................ 2.3. 1920’s........................................................................................................................92.4. 19!0’s......................................................................................................................112.5. 19"0’s......................................................................................................................1!2.6. 19#0’s......................................................................................................................1#2.7 . 1960’s......................................................................................................................192.8. 190’s......................................................................................................................21
2.9. 19$0’s......................................................................................................................2#2.10. 1990’s....................................................................................................................2$2.11. 2000’s....................................................................................................................!1
#.Most important $SA and $% fashion designers and fashion houses5+&.'alph (auren............................................................................................................55
4.1. Bac%&round and Earl' (ife....................................................................................!!4.2. )evelopin& an *n+erna+ional Brand.......................................................................!"
) Carolina *errera....................................................................................................545.1. ,areer and brand...................................................................................................!6
+. Calvin %lein..............................................................................................................566.1. ,alvin lein’s success............................................................................................!
, Stella McCartney....................................................................................................5/7.1. ,areer Be&innin&s..................................................................................................!97.2. (eadin& *n+erna+ional )esi&ner............................................................................."0
- .u"erry/!ashion house........................................................................................0)0 .i"liography and e"liography.......................................................................0+
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Introduction to the world of fashion
For hundreds of years people have put some message in the type of clothing
they wore. Long ago people started wanting to stand out from the 7crowd8 and be
different from other people by means of changing their clothing. #ome examples of these
7standing out8 became very popular and were followed by more people. $his was the
moment when fashion appeared.
owadays, fashion is sometimes defined as a 7constantly changing trend,
favored for frivolous rather than practical, logical, or intellectual reasons8. evertheless,
it is necessary to say that at the present moment fashion has a deeper influence on the life
of people and possess more than just frivolous reasons for its existance. 9lothing has
become an integral part of self"realization of every person. !t is no longer just an
7external shield8 and a frivolous attitude towards it may cause loosing a very important
physical, psychological and social aspect of a person(s life.
$he harmony attained by the combination of the inner world of a person and his
7exterior8 makes it very hard to say not even being a professional in this sphere that
fashion is just about looks. 9lothing is basically a covering designed to be worn on a person-s body. $his covering is a need, a necessity that is dictated by the norms of social
conduct. $his 7necessity8 brings a lot of variety into the lives of people and makes their
image more complete. !t is not about people serving fashion: it is about fashion being a
slave of people.
0
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!rom the "eginning
$he history of fashion design refers to the development of the fashion industry
which designs clothing and accessories. $he modern industry, based around firms
or fashion houses run by individual designers, started in the )/th century with 9harlesFrederick ;orth who was the first designer to have his label sewn into the garments that
he created.
9outure beginnings. <ose 'ertin =>uly +, )606 ? #eptember ++, )*)5@ was the
dressmaker named bill to %arie &ntoinette, Aueen of France, and a high public profile.
#ometimes called sarcastically the B%inister of FashionB, she opened a shop in Paris and
had a considerable influence on Parisian style, until this was drastically changed by the
French <evolution, from which she fled into exile in London for some years.
&n outsider to the French 9ourt, %arie &ntoinette relied on 'ertin-s meticulous
designs to helps her Bto combat her enemies
with style8. %arie &ntoinette-s uniCue fashion
preferences such as masculine riding breeches
or simple muslin shift dressed, contrasted
sharply with her elaborate gowns as the
Aueen attempted to create a persona thatwould allow the citizens of France to connect
with her and her lifestyle. <hough %arie
&ntoinette-s attempts were largely
unsuccessful, the ways 'ertin helped the
Aueen articulate herself through fashion were groundbreaking and set a precedent for
monarchs who followed.
Dnglishman living in Paris, 9harles Frederick ;orth =)*+4 " )/4@ is usually seenas the first designer in something like the modern sense, with a large business employing
many largely anonymous tailors and seamstresses. & former draper, ;orth-s success was
such that he was able to dictate to his customers what they should wear. Launched into
the spotlight as the Dmpress DugEnie-s primary designer, ;orth used his royal
connections to gain recognition and clients. $he proclamation on February ), )*45 by
4
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103s
'y the end of the )/th century, the horizons of the fashion industry had generally
Bbroadened,B partly due to the more stable and independent lifestyle many well"off
women were beginning to adopt and the practical clothes they demanded. However, thefashions of the 'elle poCue still retained the elaborate, upholstered style of the )/th
century. $he changing of fashion was unthinkable, so the use of different trimmings was
all that distinguished one season from the other.
.9onspicuous waste and conspicuous
consumption defined the fashions of the decade and the
outfits of the couturiers of the time were incredibly
extravagant, ornate, and painstakingly made. $he
curvaceous #"'end silhouette dominated fashion up until
around )/*. $he #"'end corset was very tightly laced at
the waist which forced the hips back and the drooping
mono bosom was thrust forward in a pouter pigeon effect
creating an # shape. $oward the end of the decade this
fashionable silhouette gradually became somewhat more
straight and slim, partly due to Paul Poiret-s high"waisted,
shorter"skirted Iirectoire line of clothes.
Fashionable lady of the era $he %aison <edfern was the first fashion house to
Dlizabeth ;harton Irexel in )/4 offer women a tailored suit based directly on its male
counterpart and the extremely practical and soberly elegant garment soon became an
indispensable part of the wardrobe of any well"dressed woman.
1013s
Iuring the early years of the )/)s the fashionable silhouette became much more
lithe, fluid and soft than in the )/th century. ;hen the 'allets
<usses performed #cheherazade in Paris in )/), a craze for Grientalism ensued. $he
couturier Paul Poiret was one of the first designers to translate this vogue into the fashion
6
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world. Poiret-s clients were at once transformed into harem girls in flowing pantaloons,
turbans, and vivid colors and geishas in exotic kimono. Paul Poiret also devised the first
outfit which women could put on without the
help of a maid. $he &rt Ieco movement began
to emerge at this time and its influence was
evident in the designs of many couturiers of the
time. #imple felt hats, turbans, and clouds of
tulle replaced the styles of headgear popular in
the +th century. !t is also notable that the first
real fashion shows were organized during this
period in time, by >eanne PaCuin, one of the first
female couturiers, who was also the firstParisian couturier to open foreign branches in
London, 'uenos &ires, and %adrid.
)ress desi&ned b' Paul Poire+
$wo of the most influential fashion designers of the time were >acCues
Ioucet and %ariano Fortuny. $he French designer >acCues Ioucet excelled in
superimposing pastel colors and his elaborate gossamery dresses suggested
the !mpressionist shimmers of reflected light. His distinguished customers never lost a
taste for his fluid lines and flimsy, diaphanous materials. ;hile obeying imperatives that
left little to the imagination of the couturier, Ioucet was nonetheless a designer of
immense taste and discrimination, a role many have tried since, but rarely with Ioucet-s
level of success.$he Kenice"based designer %ariano Fortuny y %adrazo, was a curious figure,
with very few parallels in any age. For his dress designs he conceived a special pleating
process and new dyeing techniCues. He gave the name Ielphos to his long clinging
sheath dresses that undulated with color. Dach garment was made of a single piece of the
finest silk, its uniCue color acCuired by repeated immersions in dyes whose shades were
*
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suggestive of moonlight or of the watery reflections of the Kenetian lagoon. 'reton straw,
%exican cochineal, and indigo from the Far Dast were among the ingredients that
Fortuny used. &mong his many devotees were Dleonora Iuse, !sadora Iuncan, 9lEo de
%Erode, the %archesa 9asati, milienne d(&lenMon, and Liane de Pougy.
9hanges in dress during ;orld ;ar ! were dictated more by necessity than fashion. &s
more and more women were forced to work, they demanded clothes that were better
suited to their new activities. #ocial events had to be postponed in favor of more pressing
engagements and the need to mourn the increasing numbers of dead, visits to the
wounded, and the general gravity of the time meant that darker colors became the norm.
& new monochrome look emerged that was unfamiliar to young women in comfortable
circumstances. 'y )/)4 fashionable skirts had risen above the ankle and then later to
mid"calf. $he period between the two ;orld ;ars, often considered to be the Jolden &geof French fashion, was one of great change and reformation. 9arriages were replaced by
cars, princes and princesses lost their crowns, and haute couture found new clients in the
ranks of film actresses, &merican heiresses, and the wives and daughters of wealthy
industrialists.
1023s
#oon after the First ;orld ;ar, a radical change came about in fashion. 'ouffant
coiffures gave way to short bobs, dresses with long trains gave way to above"the"knee
pinafores. 9orsets were abandoned and women borrowed their clothes from the male
wardrobe and chose to dress like boys. <hough, at first, many couturiers were reluctant
to adopt the new androgynous style, they embraced them wholeheartedly from around
)/+4. & bustless, waistless silhouette emerged and aggressive dressing"down was
mitigated by feather boas, embroidery, and showy accessories. $he flapper style =knownto the French as the -garMonne- look@ became very popular among young women. $he
cloche hat was widely worn and sportswear became popular with both men and women
during the decade, with designers like >ean Patou and 9oco 9hanel popularizing the
sporty and athletic look.
/
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$he great couturiNre 9oco 9hanel was a major figure in fashion at the time, as
much for her magnetic personality as for her chic and progressive designs. 9hanel helped
popularize the bob hairstyle, the little black dress, and the use of jersey knit for women-s
clothing and also elevated the status of both costume jewelry and knitwear.
$wo others prominent French designers of the )/+s were >eanne Lanvin and
>ean Patou. >eanne Lanvin, who began her career in fashion as a milliner, made such
beautiful outfits for her young daughter %arguerite that people started to ask for copies,
and Lanvin was soon making dresses for their mothers. Lanvin-s name appears in the
fashion yearbook from about )/) onwards. However, it was in the )/+s that she
reached the peak of her popularity and success. $he Lanvin style embraced the look of
the time, with its skillful use of complex trimmings, dazzling embroideries, and beaded
decorations in light, clear, floral colors that eventually became a Lanvin trademark. 'y)/+4 Lanvin produced many different products, including sportswear, furs, lingerie,
men-s fashion, and interior designs. Her global approach to fashion foreshadowed the
schemes that all the large contemporary fashion houses would later adopt in their efforts
to diversify. $he style of >ean Patou was never mainstream, but full of originality and
characterized by a studied simplicity which was to win him fame, particularly in the
&merican markets. %any of his garments, with their clean lines, geometric and 9ubist
motifs, and mixture of luxury and practicality, were designed to satisfy the new vogue for
the outdoor life, and bore a remarkable similarity to modern sportswear. $he most famous
advocate of his style was #uzanne Lenglen, the legendary tennis champion.
)
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!n menswear there was a growing mood of informality, among the
&mericans especially, which was mirrored in
fashions that emphasized youthfulness and
relaxation. !n the past, there was a special outfit
for every event in the well"dressed gentleman-s
day, but young men in the )/+s, no longer afraid
to show their youthfulness, began to wear the
same soft wool suit all day long. #hort suit
jackets replaced the old long jackets of the past
which were now only worn for formal occasions.
%en had a variety of sport clothes available to
them, including sweaters and short pants,commonly known as knickers. For evening wear
a short tuxedo was more fashionable than the tail"
coat, which was now seen as somewhat old"fashioned. $he London cut, with its slim
lines, loose"fitting sleeves, and padded shoulders, perfected by the Dnglish tailor #cholte,
was very popular.
Fair !sle patterns became very popular for
both sexes. Heels, at the time, were often over two
inches high and helped popularize the two"tone
shoe its one of her trademarks. #alvatore Ferragamo
and &ndrE Perugia were two of the most influential
and respected designers in footwear. %any stars of
the silent film had a significant impact on fashion
during the )/+s, perhaps most notably Louise
'rooks, Jloria #wanson, and 9olleen %oore. $he
lighthearted, forward"looking fashions of the )/+s
gradually came to halt after the ;all #treet 9rash of
)/+/, and succumbed to a more conservative style.
;hile the flapper look persisted into )/5, it
Cuickly disappeared afterwards, although bell"
))
shionable /oll'ood ac+ress (ouise Broo%s
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shaped hats lasted through )/55.
10#3s
!n the )/5s, as the public began to feel the effects of the Jreat Iepression, many
designers found that crises were not the time for experimentation. Fashion became more
compromising, aspiring to preserve feminism-s victories while rediscovering a subtle and
reassuring elegance and sophistication. Gverall, )/5s clothing was somber and modest,
reflecting the difficult social and economic situation of the decade. ;omen-s fashions
moved away from the brash, daring style of the )/+s towards a more romantic, feminine
silhouette. $he waistline was restored, hemlines dropped to nearly ankle"length, there
was renewed appreciation of the bust, and backless evening gowns and soft, slim"fitting
day dresses became popular. $he female body was remodeled into a more neo"classical
shape, and slim, toned, and athletic bodies came into vogue. $he fashion for outdoor
activities stimulated couturiers to manufacture what would today be referred to as
Bsportswear.B $he term Bready"to"wearB was not yet widely in use, but the boutiCues
already described such clothes as being Bfor sportB. !n place of the bobbed flapper
haircut, the standard women-s hairstyle of the )/5s was a modest, short perm.
$wo of the most prominent and influential fashion designers of the )/5s were
Dlsa #chiaparelli and %adeleine Kionnet. Dlsa #chiaparelli showed her first collection in)/+/ and was immediately hailed by the press as -one of the rare innovators- of the day.
;ith her exciting and inventive designs, #chiaparelli did not so much revolutionize
fashion as shatter its foundations. $he first pullover she displayed in her windows created
a sensationO it was knitted in black with a trompe"l-il white bow. #he consistently turned
out notable collections thereafter. #chiaparelli was a close friend of 9hristian 'Erard,
>ean 9octeau, and #alvador IalQ, who designed embroidery motifs for her and supplied
inspiration for models like the desk suit with drawers for pockets, the shoe"shaped hat,
the silk dresses painted with flies and bearing a picture of a large lobster, respectively. &ll
of Paris thronged to her salon at +) Place KendRme as collection succeeded collection.
%adeleine Kionnet found her inspiration in ancient statues, creating timeless
and beautiful gowns that would not look out of place on a Jreek frieze. Aueen of the bias
cut =cutting diagonally across the fabric-s lengthwise threads@, she produced evening
)+
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dresses that fitted the body without excessive elaboration or dissimulation, employing a
flowing and elegant line. Her perfect draping of chiffon, silk, and %oroccan crSpe created
a marvelously poised and sensual effect. $he unparalleled success of Kionnet-s cuts
guaranteed her reputation right up to her retirement in )/5/.
%ainbocher, the first &merican designer to live and work in Paris, was also
influential, with his plain yet supremely elegant designs, often employing the bias cut
pioneered by Kionnet. $he luxury goods manufacturer HermNs began to sell handmade
printed silk sCuare scarves in the early )/5s, in addition to popularizing the zipper and
many other practical innovations. $oward the end of the decade, women-s fashions took
on a somewhat more imposing and broad"shouldered silhouette, possibly influenced by
Dlsa #chiaparelli. %en-s fashions continued the informal, practical trend that had
dominated since the end of the First ;orld ;ar.&fter ;orld ;ar !!, Paris-s reputation as the global center of fashion began to
crumble. & new youth style emerged in the )/4s, changing the focus of fashion. !n the
;est, the traditional divide between high society and the working class was challenged.
!n particular, a new young generation wanted to reap the benefits of a booming consumer
society. Privilege became less blatantly advertised than in the past and differences were
more glossed over. &s the ancient Duropean hierarchies were overturned, the external
marks of distinction faded. 'y the time the first rockets were launched into space, Durope
was more than ready to adopt a Cuality ready"to"wear garment along &merican linesT
something to occupy the middle ground between off"the"peg and couture. $his need was
all the more pressing because increases in overheads and raw material costs were
beginning to relegate handmade fashion to the sidelines. %eanwhile, rapidly developing
new technologies made it increasingly easy to manufacture an ever"improving, high"
Cuality product. Faced with the threat of a factory"made, fashion"based product, Parisian
haute couture mounted its defenses, but to little effect. ;hile the old world was taking its
final bow, the changes in fashion were one of the most visible manifestations of the
general shake"up in society. 'efore long, classes of women hitherto restricted to inferior
substitutes to haute couture would enjoy a greatly enlarged freedom of choice. Iealing in
far larger Cuantities, production cycles were longer than those of couture workshops,
which meant that stylists planning their lines for the twice"yearly collections had to try to
)5
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guess more than a year in advance what their customers would want. & new authority had
taken overTthat of the street, constituting a further threat to the dictatorship of couture.
10&3s
%any fashion houses closed during the occupation of Paris during ;orld;ar !!, including the %aison Kionnet and the %aison 9hanel. #everal designers,
including %ainbocher, permanently relocated to ew ork. !n the enormous moral and
intellectual re"education program undertaken by the French state, couture was not spared.
!n contrast to the stylish, liberated Parisienne, the Kichy regime promoted the model of
the wife and motherTa robust, athletic young womanTa figure much more consistent
with the new regime-s political agenda. %eanwhile, Jermany was taking possession of
over half of what France produced, including high fashion, and was considering
relocating French haute couture to 'erlin and Kienna. $he archives of the 9hambre
#yndicale de la 9outure were seized, including, most conseCuentially, the client list. $he
point of all this was to break up a monopoly that supposedly threatened the dominance of
the $hird <eich.
Iue to difficult times, hemlines crept upward in both evening wear and day wear,
the latter of which was made using substitute materials whenever possible. From )/0
onward, no more than four meters =thirteen feet@ of cloth was permitted to be used for a
coat and a little over one meter =three feet@ for a blouse. o belt could be over 5centimetres =one and a half inches@ wide. Iespite this, haute couture did its best to keep
its flag flying. Humor and frivolity became a popstar way of defying the occupying
powers and couture survived. <hough some have argued that the reason it endured was
due to the patronage of the wives of wealthy azis, in actuality, records reveal that, aside
from the usual wealthy Parisiennes, it was an eclectic mix of the wives of foreign
ambassadors, clients from the black market,
and miscellaneous other patrons of thesalons =among whom Jerman women were
but a minority@ that kept the doors=shut@
open at fashion houses such as >acCues Fath,
%aggy <ouff, %arcel <ochas, >eanne
Lafaurie, ina <icci, and %adeleine
)0
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Kramant.
Permed hairstyles remained standard, although during the -0s, this evolved into
a bobbed roll along the lower part of the hairline.
Iuring the Gccupation, the only true way for a woman to flaunt her
extravagance or add color to a drab outfit was to wear a hat. !n this period, hats were
often made of scraps of material that would otherwise have been thrown away, including
bits of paper and wood shavings. &mong the most innovative milliners of the time were
Pauline &dam, #imone audet, <ose Kalois, and Le %onnier.
Paris-s isolated situation in the )/0s enabled &mericans to fully utilize the
ingenuity and creativity of their own designers. Iuring the #econd ;orld ;ar, Kera
%axwell presented outfits constituted of plain, simply cut co"ordinates, and introduced
innovations to men-s work clothes. 'onnie 9ashin transformed boots into a major fashionaccessory, and, in )/00, began the production of original and imaginative sportswear.
9laire %c9ardell, &nne 3lein, and 9ashin formed a remarkable trio of women who laid
the foundations of &merican sportswear, ensuring that ready"to"wear was not considered
a mere second best, but an elegant and comfortable way for modern women to dress.
!n the ;ar ears, the zoot suit =and in France the zazou suit@ became popular
among young men.
%any actresses of the time, including <ita Hayworth, 3atharine Hepburn, and
%arlene Iietrich, had a significant impact on popular fashion.
$he couturier 9hristian Iior created a tidal wave with his first collection in
February )/06. $he collection contained dresses with accentuated busts, tiny =or BwaspB@
waists, and extravagantly full skirts, emphasizing the feminine hourglass figure in a
manner very similar to the style of the 'elle poCue. $he lavish use of fabric and the
feminine elegance of the designs appealed to post"war clientele, and ensured Iior-s
meteoric rise to fame. $he sheer sophistication of the style incited the all"powerful editor
of the &merican Harper-s 'azaar, 9armel #now, to exclaim -$his is a new lookU-.
10)3s
Flying in the face of continuity, support and
logic, and erudite sociological predictions, fashion in
the )/4s, far from being revolutionary and
)4
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progressive, used more from the previous decade. & whole society which, in the )/+s
and )/5s, had greatly believed in progress, was now much more circumspect. Iespite
the fact that women had the right to vote, to work, and to drive their own cars, they chose
to wear dresses made of opulent materials, with corseted waists and swirling skirts to
mid"calf. &s fashion looked to the past, haute couture experienced something of a revival
and spawned a myriad of star designers who profited hugely from the rapid growth of the
media.
$hroughout the )/4s, although it would be for the last time, women around the
world continued to submit to the trends of Parisian haute couture. $hree of the most
prominent of the Parisian couturiers of the time were 9ristbal 'alenciaga, Hubert de
Jivenchy, and Pierre 'almain. $he frugal prince of luxury, 9ristbal 'alenciaga Dsagri
made his fashion debut in the late )/5s. However, it was not until the post"war yearsthat the full scale of the inventiveness of this highly original designer became evident. !n
)/4), he totally transformed the silhouette, broadening the shoulders and removing the
waist. !n )/44, he designed the tunic dress, which later developed into the chemise dress
of )/46. &nd eventually, in )/4/, his work culminated in the Dmpire line, with high"
waisted dresses and coats cut like kimonos. His mastery of fabric design and creation
defied belief. 'alenciaga is also
notable as one of the few couturiers
in fashion history who could use
their own hands to design, cut, and
sew the models which symbolized
the height of his artistry.
Hubert de Jivenchy
opened his first couture house in
)/4+ and created a sensation with his separates, which could be mixed and matched at
will. %ost renowned was his 'ettina blouse made from shirting, which was named after
his top model. #oon, boutiCues were opened in <ome, Vurich, and 'uenos &ires. & man
of immense taste and discrimination, he was, perhaps more than any other designer of the
period, an integral part of the world whose understated elegance he helped to define.
Pierre 'almain opened his own salon in )/04. !t was in a series of collections
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)/4s, many couture houses used the interest in
BfoundationwearB to launch their own lines, soon
after many lingerie manufacturers began to build
their own brands. !n )/46, >ane <ussell wore the
B9antileverB bra that was scientifically designed by
Howard Hughes to maximize a voluptuous look.
$he invention of Lycra =originally called BFibre 3B@
in )/4/ revolutionized the underwear industry and
was Cuickly incorporated into every aspect of
lingerie.
&fter the war, the &merican look =which consisted of broad shoulders, floral
ties, straight"legged pants, and shirts with long pointed collars, often worn hanging outrather than tucked in@ became very popular among men in Durope. 9ertain London
manufacturers ushered in a revival of Ddwardian elegance in men-s fashion, adopting a
tight"fitting retro style that was intended to appeal to traditionalists. $his look, originally
aimed at the respectable young man about town, was translated into popular fashion as
the $eddy boy style. $he !talian look, popularized by 9araceni, 'rioni, and 9ifonelli, was
taken up by an entire generation of elegant young lovers, on both sides of the &tlantic.
Plaid was very common in )/4s men-s fashion, both for shirts and suits, along with the
BducktailB haircut, which was often viewed as a symbol of teenage rebellion and banned
in schools.
Iuring the second half of the )/4s, there was a general move towards less
formal clothing, especially among men-s fashion. $he fedora and Homburg hat, as well as
trench coats, disappeared from widespread use =this trend had already begun some years
earlier on the more informal ;est 9oast of the 2#@ after having been standard parts of
menswear since the )/+s.
$he designers of Hollywood created a particular type of glamour for the stars
of &merican film, and outfits worn by the likes of %arilyn %onroe, Lauren 'acall, or
Jrace 3elly were widely copied. Auantitatively speaking, a costume worn by an actress
in a Hollywood movie would have a much bigger audience than the photograph of a dress
designed by a couturier illustrated in a magazine read by no more than a few thousand
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people. ;ithout even trying to keep track of all the Paris styles, its costume designers
focused on their own version of classicism, which was meant to be timeless, flattering,
and photogenic. 2sing apparently luxurious materials, such as seCuins, chiffon, and fur,
the clothes were very simply cut, often including some memorable detail, such as a low"
cut back to a dress which was only revealed when the actress turned her back from the
camera or some particularly stunning accessory. $he most influential and respected
designers of Hollywood from the )/5s to the )/4s were Ddith Head, Grry"3elly,
;illiam $ravilla, >ean Louis, $ravis 'anton, and Jilbert &drian. Dveryday women-s
clothing during the decade consisted of long coats, hats with small veils, and leather
gloves. 3nee"length dresses combined with pearl necklaces, which were made instantly
popular by First Lady %amie Disenhower. #hort, permed hair was the standard women-s
hairstyle of the period. 'y the end of the decade mass"manufactured, off"the"peg clothing had become
much more popular than in the past, granting the general public unprecedented access to
fashionable styles.
10+3s
2ntil the )/1s, Paris was considered to be the center of fashion throughout the
world. However, between )/1 and )/1/ a radical shake"up occurred in the fundamentalstructure of fashion. From the )/1s onward, there would never be just one single,
prevailing trend or fashion but a great plethora of possibilities, indivisibly linked to all
the various influences in other areas of people-s lives. Prosperity and the emergence of a
distinct teenager culture, combined with the counterculture movement, would all have
major effects on fashion.
&fter 5 years of conservative
clothing styles, the -1s saw a kind of throwback to the )/+s with women once
again adopting a childlike look with
bobbed haircuts and progressively less
modest clothing. &t the start of the decade
skirts were knee"length, but steadily
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became shorter and shorter until the mini"skirt emerged in )/14. 'y the end of the decade
they had shot well above the stocking top, making the transition to tights inevitable.
%any of the radical changes in fashion developed in the streets of London,
with such gifted designers as %ary Auant =known for launching the mini skirt@ and
'arbara Hulanicki =the founder of the legendary boutiCue 'iba@. Paris also had its share
of new and revolutionary designers, including Pierre 9ardin =known for his visionary and
skillfully cut designs@, &ndrE 9ourrNges =known for his futuristic outfits and for
launching the mini skirt along with %ary Auant@, ves #aint Laurent =known for his
revolutionary yet elegant fashions@, and Dmanuel 2ngaro =known for his imaginative use
of color and bold baroCue contrasts@. !n the 2nited #tates, <udi Jernreich =known for his
avant"garde and futuristic designs@ and >ames Jalanos =known for his luxurious ready"to"
wear@ were also reaching a young audience. $he main outlets for these new youngfashion designers were small boutiCues, selling outfits that were not exactly -one"offs-, but
were made in small Cuantities in a limited range of sizes and colors. However, not all
designers took well to the new style and mood. !n )/14, 9oco 9hanel mounted a
rearguard action against the exposure of the knee and 'alenciaga resolutely continued to
produce feminine and conservative designs.
$he basic shape and style of the time was simple, neat, trim, and colorful. Hats
had already begun their decline in the previous decade and were now almost completely
extinct except for special occasions. Lower kitten heels were a pretty substitute to
stilettos. Pointed toes gave way to chisel shaped toes in )/1) and to an almond toe in
)/15. Flat boots also became popular with very short dresses in )/14 and eventually they
rose up the leg and reached the knee.
$he -1s for the first time saw a widespread assortment of popular hairstyles, including
bobs, pageboy cuts, and beehives.
$wo notable and influential
designers in the )/1s were Dmilio Pucci
and Paco <abanne. Dmilio Pucci-s
sportswear designs and prints inspired by Gp
art, psychedelia, and medieval heraldic
banners earned him a reputation that
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extended far beyond the circles of high society. His sleek shift dresses, tunics, and
beachwear, created a -Puccimania- that was
all part of a movement to liberate the female form and his designs are today synonymous
with the )/1s. Francisco <abaneda 9uervo =later Paco <abanne@ opened his first couture
house in )/11 and, from the start, produced resolutely modern designs. <ather than using
conventional dress materials, he created garments from aluminum, <hodoid, and pieces
of scrap metal. His designs, as well as being experimental, were also closely in tune with
what modern adventurous young women wanted to wear. &mong his innovations are the
seamless dress made, after much experiment, by spraying vinyl chloride on to a mold,
and the low"budget disposable dress made of paper and nylon thread. <abanne was also
the first fashion designer to use black models, which very nearly resulted in his dismissal
from the 9hambre #yndicale de la 9outure Parisienne. $he success of his perfume9alandre helped support the less profitable areas of his work, while his utopianism
assured him a uniCue position in the conservative world of haute couture.
$he principal change in menswear in the )/1s was in the weight of the fabric
used. $he choice of materials and the method of manufacture produced a suit that,
because it was lighter in weight, had a totally different look, with a line that was closer to
the natural shape of the body, causing men to look at their figures more critically. $he
spread of jeans served to accelerate a radical change in the male wardrobe. oung men
grew their hair down to their collars and added a touch of color, and even floral motifs, to
their shirts. $he polo neck never succeeded in replacing the tie, but the adoption of the
workman-s jacket in rough corduroy, and especially the mao jacket proved to be more
than simply a political statement. & few futuristic rumblings were set off by Pierre 9ardin
and &ndre 9ourrNges, but the three"piece suit still survived intact.
!n the early )/1s there were influential -partnerships- of celebrities and high"
fashion designers, most famously &udrey Hepburn with Jivenchy, and >ackie 3ennedy
with Gleg 9assini. &lso, many models had a very profound effect on fashion, most
notably $wiggy, Keruschka, >ean #hrimpton. Darly in the decade, culottes were in style
and the bikini finally came into fashion in )/15. $he hippie and psychedelic movements
late in the decade also had a strong influence on clothing styles, including bell"bottom
jeans =designed by the Dnglish tailor $ommy utter, from his #avoy store@, tie"dye and
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batik fabrics, as well as paisley prints.
10,3s
icknamed the -me- decade: -please yourself- was the catchphrase of the
)/6s. #ome saw it as the end of good taste. $he decade began with a continuation of thehippie look of the late )/1s, with kaftans, !ndian scarves, and floral"print tunics. >eans
remained frayed and bell"bottomed, tie dye was still popular, and the fashion for unisex
mushroomed. &n immense movement claiming civil rights for blacks combined with the
influence of soul music from the 2#& created a nostalgia for &frica and &frican culture.
& radical chic emerged, influenced by the likes of >ames 'rown, Iiana <oss, &ngela
Iavis, and the 'lack Panthers, in everything from afro hairstyles to platform soles.
Iuring the )/6s brands greatly increased their share of the international market. Hems
began dropping in )/60 to below the knee, until finally reaching the lower mid calf in
)/66 and shoulderlines were dropped. &fter )/64, fashions came to be dominated by the
Bdisco lookB which included feathered women-s haircuts and on men, the three"piece
leisure suit. 'ell"bottomed pants would remain popular through the entire decade.
Perhaps the two most innovative fashion designers in )/6s France were
3enzo $akada and #onia <ykiel. $he undisputed star of Parisian fashion in the )/6s,
3enzo drew his inspiration from all over the world, mixing ;estern and Griental folk
influences with a fantastic joie de vivre and an instinctive understanding of what hisyoung customers wanted. ;ith his fluid lines, unusual prints, clever accessories, and
finery that was hitherto unprecedented in ready"to"wear, he very much turned the fashion
world upside down. $he Cueen of figure"hugging knits, in )/60, #onia <ykiel designed
her first pullovers with reversed seams. However, more than that, she created a whole
range of clothes that were extremely individual and yet
could be worn almost anywhere. $he <ykiel style,
dominated by fluid knitted garments, dark blacks,rhinestones, long boa"like scarves, and little crocheted
hats, conCuered the &merican market, and even to this day
<ykiel is considered by many &mericans as the true
successor of 9hanel.
¬her popular 'ritish style was the resolutely
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unmodern, feminine, countrified style of clothing popularized by Laura &shley, which
consisted of long flounced skirts and high"necked blouses in traditional floral prints,
worn with crocheted shawls. Laura &shley started out running a small business in ;ales
in the mid")/1s and the company continued to expand until the accidental death of its
owner in )/*4. Laura &shley was not the only designer to look nostalgically to the past.
Fashions based on the )/+s, 5s, 0s, and 4s were popular throughout much of the
decade, with Hollywood films like $he Jodfather and $he Jreat Jatsby, and numerous
exhibitions on costume history at the %etropolitan %useum of &rt in ew ork
increasing their popularity. !n >apan, the boutiCues of $okyo-s fashionable Harajuku
district sold many reworked versions of traditional 'ritish and &merican looks.
!n the 2nited #tates, the general trend in fashion was towards simplificationand longer skirts, although many women reacted negatively to the midi"length, which
they felt to be aging. Pants, on the other hand, earned unanimous approval. >eans profited
most from becoming an accepted part of the &merican fashion scene in the )/6s, their
new"found respectability deriving from their inclusion in collections under the heading of
sportswear. $he new stars of &merican ready"to"wear adapted the best of what they
learned from Durope to the massive &merican clothing industry. 9alvin 3lein and <alph
Lauren rose from anonymity more or less simultaneously to tackle the Cuestion of
designing clothes for the men and women of a new world. $wo opposing movements
dominated fashion in the 2.# during the )/6s. Gn one hand, there was the tailored,
unisex look: on the other hand, a fluid, unstructured style with a strong feeling of )/5s
glamor. $he most influential &merican designer of the time, <oy Halston Frowick
=known simply as Halston@, belonged to the latter category. &cCuiring celebrity status on
the ew ork scene, his particular talent was in reconciling the made"to"measure garment
for the special occasion with concepts of comfort, naturalness, and relaxation. ;ith his
kaftans, shirtwaisters, djellabas, ultra"lightweight shift dresses, and tunics worn over
shorts and wide"legged pants, he was an icon of the era, and a regular visitor at the K!P
room of the #tudio 40 after its opening in )/66.
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Jeoffrey 'eene, praised for his elegant and
sophisticated cuts and his use of black and white, was
at his most successful in the radically simplified
designs at which he excelled. His smart little dresses
and well"cut suits in jersey, flannel, and wool were
instrumental in discouraging &merican women from
over"accessorizing. 'ill 'lass, who launched his own
range in )/1+, developed the habit of traveling all over
the 2nited #tates in order to hear for himself what his
customers desired. Gne of the most popular in
fulfilling his customers wishes. His disciplined style
and workmanship was particularly favored by businesswomen and the wives of senior executives.
'etsey >ohnson started out designing for the boutiCue
Paraphernalia. 2sing vinyl and metallic fabrics and putting emphasis on wit, imagination,
and independence, she brought an unprecedented spirit of irreverence to ew ork in the
)/6s.
!n popular fashion the glam rock style of clothing, worn by such rock
performers as Iavid 'owie and %arc 'olan, was very influential, particularly in the
2nited 3ingdom. $he designer Dlio Fiorucci had a very similar look. His boutiCue in
%ilan sold such things as brightly colored rubber boots, plastic daisy sandals, fake fur,
and Pop &rt"inspired jackets.
Iuring the )/6s a new generation of menswear boutiCues sprang up, aiming
to change the decor, rituals, and customer base of a traditionally -difficult- trade. $o sell
fashionable clothes to a young man at the end of the )/1s was still, in many circles,
tantamount to Cuestioning his masculinity. %en-s appearance changed more in the )/6s
than it had done in a whole century. %any of the fashion designers who revolutionized
the male look owed a lot of their innovations to Pierre 9ardinO narrow shoulders, tight"
fitting lines, no tie, no interfacing, zip"up boiler suits, waisted jackets or tunics,
sometimes no shirt. ;ork clothes supplied inspiration for a less formal style, encouraging
designers to look beyond the traditional suit and, for example, adopt a unisex look or
+0
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investigate the massive supply of second"hand clothes. #ometimes this kind of male
dressing"down, often denounced as -hippie-, gained formal recognition as a deliberate
look. &t certain other times, as part of a retro movement, designers introduced a revival
of )/5s elegance. $he unearthing of old military clothing, preferably khaki and from the
2nited #tates: Dnglish"style shoes: Gxford shirts: immaculate $"shirts: tweed jackets with
padded shoulders: brightly colored K"neck sweaters: cashmere"printed scarves draped
around the neck all imposed a certain uniformity on the casual beatnik look of the male
wardrobe at the end of the )/6s.
&lso significant are the developments in !talian fashion that happened during
the period. !n the course of the )/6s, as a result of its ready"to"wear industry, %ilan
confirmed its status as second only to Paris as a center of international fashion. $he -alta
moda- preferred <ome, the base of the couturiers Kalentino, 9apucci, and #chWn.9apitalizing on the dominant trend of anti"fashion !taly offered a glamor that had nothing
to do with the dictates of Parisian haute couture. ;hile profiting from a clearly defined
style, !talian fashion was luxurious and easy to wear. $he two most influential !talian
fashion designers of the time were probably Jiorgio &rmani and ino 9erruti. Jiorgio
&rmani produced his first collection for women in )/64. From the outset, the line was
dynamic, urban, and understated, androgynous in inspiration. &rmani offered a restrained
style that greatly appealed to the increasing population of women who now had access to
the world of work and occupied progressively more senior positions within it. $his was
only the beginning of a tremendous career, which came to fruition in )/*) when Dmporio
&rmani was launched. !n )/46 ino 9erruti opened the menswear boutiCue Hitman in
%ilan. & man of taste and discernment, in )/61 he presented his first collection for
women. $wo years later, he launched his first perfume. !n linking the career of a
successful industrialist with that of a high"Cuality designer, 9erruti occupied a uniCue
position in !talian ready"to"wear.
10-3s
Iuring the late +th century, fashions began to criss"cross international
boundaries with rapidity. Popular ;estern styles were adopted all over the world, and
many designers from outside of the ;est had a profound impact on fashion. #ynthetic
materials such as LycraXspandex, and viscose became widely used, and fashion, after two
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decades of looking to the future, once again turned to the past for inspiration.
$he society of the )/*s no longer
criticized itself as consumerist, but was,
instead, interested in -the spectacle-. $he
self"conscious image of the decade was
very good for the fashion industry,
which had never been Cuite so Y la
mode. Fashion shows were transfigured
into media"saturated spectaculars and
freCuently televised, taking high
priority in the social calendar.
&ppearance was related to performance, which was of supreme importance to a whole generation of young urban
professionals, whose desire to look the part related to a craving for power. $he way in
which men and women associated with the latest styles was no more a matter of passive
submission but disco music rapidly fell out of favor as the decade began, along with its
associated clothing styles. 'y )/*+, the last traces of )/6s fashion were gone.
Iuring the )/*s, the mullet became the standard men-s haircut and women
sported large, sCuare"cut perms although there were many variations of both. >umpsuits
became a popular element of female clothing and on men, skinny neckties and
wraparound sunglasses. &lso during the -*s, aerobics were in vogue and so brought into
style #pandex leggings and headbands.
$he two French fashion designers who best defined the look of the period were
a man and &zzedine &laia. #trongly influenced by his early career in the theater, $hierry
%ugler produced fashion designs that combined Hollywood retro and futurism, with
rounded hips, sharply accentuated shoulders, and a slight hint of the galactic heroine.
%ugler-s glamorous dresses were a remarkable success, and signified the complete end of
the hippy era and its unstructured silhouette. 3nown for his awe"inspiring combinations,
&zzedine &laia greatly influenced the silhouette of the woman of the )/*s. $he master
of all kinds of techniCues that had previously been known only to haute couture, he
experimented with many new and underused materials, such as spandex and viscose. $he
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finish, simplicity, and sheer sexiness of &laia-s look made women of every generation
identify with his seductive style, and during the )/*s he achieved a certain glory and
was held in high regard by members of his own profession.
&lso creating designs very typical of the era were 9laude %ontana, whose
imposing, broad"shouldered designs, often made of leather, would not have looked out of
place in the futuristic universe of $hierry %ugler, and 9hristian Lacroix, who sent shock
waves through the world of haute couture, with his flounced skirts, embroidered
corselets, bustles, and polka"dotted crinolines which evoked the rhythms of flamenco.
& number of promising newcomers entered the fashion scene in the )/*s.
&ngelo $arlazzi, an extraordinary technician who once worked for Patou, bewitched both
the press and his customers with his -handkerchief- dresses. %ade of sCuares of fabric,
they transpired, when you came to put them on, to be far more complicated than at firstappeared. %any a Parisian soirEe of the )/*s was enlivened by his dresses, all in a fluid
and original style, in which cutting and sewing were kept to a minimum. 9hantal
$homas, the Cueen of sexy stockings and lace, won a devoted following for her seductive
underwear and for evening gowns that looked like nightdresses and vice versa. Juy
Paulin was one of the first designers to promote a severe, plain, and uncluttered look. His
garments were classical in their proportions and made for comfort and simplicity, with
their harmonious lines reinforced by a subtle palette of colors and fine materials. 2nder
his own name, >oseph designed luxurious knitwear along classic lines, creating loose,
sexy garments in neutral colors. 9arolina Herrera, long regarded as one of the most
elegant members of the jet set, in )/*) launched a series of collections aimed at women
like herself, featuring impeccably cut clothes of high Cuality and attractive evening
dresses.
>apanese designers such as <ei 3awakubo and ohji amamoto offered a look
which marked a total break with the prevailing fashion image of the time. Flat shoes, no
make"up, reserve, modesty, and secrecy were the hallmarks of this modern look.
Dventually, it began to include details from the fashions of the past, as Durope-s ancient
sites were revisited by these anarchists of fashion, whose influence on shape of clothes, at
the end of the +th"century, became legendary.
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!n &merican fashion the seductive,
clinging style of Ionna 3aran and the casual
sophistication of <alph Lauren were very
influential. & star of the ew ork social scene,
Ionna 3aran brought a very personal and
feminine approach to the severe, sober"colored,
casual look that dominated &merican ready"to"
wear. #etting up her own label in )/*0, her
designs won instant popularity among active
urban women who greatly appreciated the
understated luxury of her clothes. !n )/6) <alph
Lauren opened a boutiCue for both men and women in 'everly Hills. His aristocraticstyle at prices the average &merican could afford created a sensation. For an elite faced
with all kinds of avant"garde fashions, it represented a rallying point, endorsing a classic
look that had been adopted for an active life. $he number one of &merican ready"to"wear,
Lauren was eCually successful with his sportswear and jeans, which allowed him to reach
the widest possible range of social classes and age groups.
9entral to the success of a new wave of &merican sportswear was the Perry
Dllis label, established in )/6*, which used color and natural fibers to great advantage in
its elegant variations on the basics. orma 3amali, with her short skirts made of
sweatshirting, leotards, headbands, and leg warmers, made jogging look fashionable.
3amali also created the popular -rah"rah skirt-. &lso notable is the extreme popularity of
the &didas sports label, which achieved an incredible level of street cred in the )/*s,
inciting the hip hop group <un I%9 to release the single -%y &didas- in )/*1. $he
legendary shoe designer %anolo 'lahnik also rose to fame during the )/*s.
$he multiplicity of trends that bloomed during the *s were curtailed by the
economic recession that set in at the beginning of the )//s, largely destroying the
optimistic mood that is so advantageous to the fashion industry.
1003s
!n the )//s it was no longer the done thing to follow fashion slavishly, a
sharp contrast to the highly a la mode )/6s and )/*s. $he phobia of being
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underdressed was finally completely displaced by the fear of overdressing. Fashion in the
)//s united around a new standard, minimalism, and styles of stark simplicity became
the vogue. Iespite the best efforts of a few designers to keep the flag for pretty dresses
flying, by the end of the decade the notion of ostentatious finery had virtually
disappeared. &s well as the styling of the product, its promotion in the media became
crucial to its success and image. $he financial pressures of the decade had a devastating
effect on the development of new talent and lessened the autonomy enjoyed by more
established designers.
Fashion at the end of the +th century tackled themes that fashion had not
previously embraced. $hese themes included rape, disability, religious violence, death,
and body modification. $here was a dramatic move away from the sexy styles aimed at
the glamorous femme fatale of the )/*s, and many designers, taken with a vision of romantic poverty, adopted the style of the poverty"stricken waif, dressed in a stark,
perversely sober palette, with a face devoid of make"up. 9lothes by ready"to"wear
retailers such as $he Jap, 'anana <epublic, and Dddie 'auer came to the forefront of
fashion, managing to tap into the needs of women who simply wanted comfortable,
wearable clothes. <etro clothing inspired by the )/1s and )/6s was popular for much
of the )//s.
$he famous !talian fashion house,
Jucci was created in )/+), by Juccio Jucci and
was originally a firm that sold luxury leather goods.
2nder Juccio Jucci-s children, by the end of the
)/1s the label had expanded to include a plethora
of products with a distinctly Latin glamor.
However, only in the )//s, when the Jucci heirs
gave up control of the company to !nvest 9orp.,
who planned to turn the business around, did it
truly begin to enjoy the kind of success it enjoys in
the present day. Dmploying an unknown designer,
$om Ford, as design director in )//0, the fashion
house was endowed with a great prestige, as Ford triggered a tidal wave with his chic and
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shocking collections, perfumes for men and women, revamped boutiCues, and advertising
campaigns. !n )//* Jucci is named BDuropean 9ompany of the yearB by Duropean
'usiness Press Federation. $oday it is the second biggest"selling fashion brand =after
LK%H@ worldwide with 2#Z6 billion worldwide of revenue in +1 according to
'usiness;eek magazine.
!n the )//s the designer label Prada became a true creative force in the fashion
industry. $he %ilanese company was first established in )/+5, two years after Jucci, and
like Jucci, it was a firm that sold high"Cuality shoes and leather. !t was until the )/*s
that %iuccia Prada, the niece of the company-s founder, began to produce ready"to"wear
fashion, gaining fame for her subtle, streamlined, yet unCuestionably luxurious style, that
catered for the privileged young woman who prefers understatement to flamboyant
extravagance. !n &merica three of the most influential fashion designers of the time were
%ichael 3ors, %arc >acobs, and 9alvin 3lein. %ichael 3ors set up his own business in
)/*. However, it was not until the )//s that the designer reached the peak of his
popularity. His knowledge and consciousness of trends enabled him to produce simple
well"cut garments, whose sophistication and elegance appealed to a whole new breed of
wealthy &merican customers drawn to the new vogue for minimalist chic. %arc >acobs is
one of the most notable &merican designers of the period in that, unlike many &merican
fashion designers in the past, he was not so much the co"ordinator of a mass"produced
garment as a designer in the Duropean sense of the word. Gne of the most promising
talents in the fashion industry at the time, the LK%H =Louis Kuitton"%oet Henessy@
group offered him the job of designing a line of ready"to"wear to compliment the de"luxe
products of luggage specialist Louis Kuitton in the late )//s. Gne of the first fashion
designers to anticipate the globalization of world markets, the already well"known
designer 9alvin 3lein started to market his fashions, perfumes, and accessories not only
right across the 2#, but also in Durope and &sia, achieving an uneCualed success. &
brilliant artistic director, 3lein used carefully constructed advertisements to promote his
sophisticatedly functional mass"produced designs, which won massive popularity among
the urban youth of the )//s.
$he group of designers known as the -&ntwerp #ix- =so named because all of
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3o44' /ilfi&er dress 5ichael ors prin& ,ollec+ion Ale7ander 5c8ueen
2016 /au+e cou+ure
Most important $SA and $% fashion designers and fashion houses
!n today(s global economy it is easy to become consumed with the decadent
designs of the Duropean fashion houses. &merican luxury designers have been somewhatunder"appreciated being left in the dust of Louis Kuitton, 9hanel and Hermes thanks to
these designers being a type of status symbol attracting new money.
;hile there is essentially no difference in Cuality between Duropean or &merican
luxury designers, &merican designers have a way of leaving the pretentiousness at the
door. ounger consumers have shown a preference for &merican designers due to their
willingness to experiment with bright colors and trendy designs set at a price point that
won(t break the bank as many Duropean designers have outrageous price points that can
seem untouchable at times. %any &merican luxury designers have taken their designs to
the next level creating an entire empire on their vision alone.
Dach day, we put on clothes that do more than just cover up bodies. ;e choose clothes
that represent our personalities, our moods, the times we live in, our ambitions and our
desires.
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;ho are the people behind the designs we wear every day\ $hese fashion
designers who have made fashion a huge industry, and whose work is as controversial,
and as influential, as traditional art. $hese are some of the designers who have dressed the
world-s most famous peopleTand are hugely famous in their own right.
$here are a lot of famous fashion designers from 2.#.& and 2.3 that have
influenced the world of fashion a lot overtime. &mong them we remind <alph Lauren,
9alvin 3lein, 9arolina Herrera, %ichael 3ors, %arc >acobs, Gscar de la <enta, Ionna
3aran, $om Ford, $ommy Hilfiger, &lexander %cAueen, #tella %c9artney or 'urberry.
'alph (auren
<alph Lauren is an &merican clothing designer best known for his sportswear
line Polo <alph Lauren, the centerpiece of his fashion empire.
!conic designer <alph Lauren was born <alph Lifshitz in ew ork 9ity on
Gctober )0, )/5/. Lauren worked in retail at 'rooks 'rothers before developing a line of
neckties. $he brand he established, Polo, is now one part of an international empire that
includes fragrances, home furnishings, luxury clothing and dining based on a fantasy
aesthetic of upper"crust life. Lauren, a funder of cancer research initiatives, has also used
his personal fortune to amass a collection of rare and classic cars as well as a massive
9olorado ranch. .ac4ground and 5arly (ife
<alph Lauren
was born <alph Lifshitz in
the 'ronx, ew ork 9ity,
on Gctober )0, )/5/, the
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third of four siblings. His parents Frieda and Frank were &shkenazi >ewish immigrants
who had fled 'elarus, and the youngster grew up in the %osholu Parkway area of the
family-s adopted borough.
&t the age of )1, <alph and his brother >erry changed their last name to Lauren
after having been teased consistently at school. ¬her brother, Lenny, retained the
family name. <alph was known for his distinctive fashion sense as a teen, finding
inspiration in screen icons like Fred &staire and 9ary Jrant while having a taste for both
classic preppy wear and vintage looks. He went on to attend 'aruch 9ollege in
%anhattan, where he studied business for two years. &fter a brief stint in the &rmy,
Lauren took on a sales job at 'rooks 'rothers.
6eveloping an International .rand
!n )/16, while working for 'eau 'rummell, Lauren began designing his own
men(s neckties with a wider cut, branding them under the name 7Polo8 and selling them
at large department stores, including 'loomingdale(s. Lauren was able to more fully
develop his business with a Z5, loan, eventually expanding his designs to a full
menswear line.
!n )/6, Lauren was awarded the 9oty &ward for his men-s designs.
Following this recognition, he released a line of women-s suits tailored in a classic men-s
style. $hen in )/6+, Lauren released a short"sleeve cotton shirt in +0 colors. $his design,
emblazoned with the company-s famed logoTthat of a polo player, created by tennis pro
<enE LacosteTbecame the brand(s signature look.
Lauren is known for
capitalizing on an aspirationalstyle and key insignia which
evokes the 'ritish gentry
while also referencing the
aesthetics of the &merican
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upper class. His fashion ideas have been criticized by some for not being particularly
innovative while also embraced by scores of consumers who prefer more approachable
looks. Lauren subseCuently broadened his brand to include a luxury clothing line known
as <alph Lauren Purple, a rough and rustic line of apparel dubbed <<L, a home"
furnishing collection called <alph Lauren Home and a set of fragrances. Polo currently
produces clothing for men, women and children and has hundreds of internationally
placed stores, including factory stores that produce the majority of his sales domestically.
Lauren has also designed Glympic uniforms for $eam 2#&, though
controversy ensued when it was discovered that the competitors- attire for the +)+
summer games was made in 9hina.
Carolina *errera
9arolina Herrera is a Kenezuelan"&merican fashion designer, known for her
elegance and class in dressing celebrities around the world. 'orn to a wealthy family and
coming from a privileged background, her mother instilled in her passion and discipline
that helped her transform into an elegant woman. Iuring the seventies and eighties, she
was Cuite well known in Kenezuela
because of the fact that she was
considered to be one of the best dressed
women in the country. Later, the family
moved to ew ork where she decided
to become a fashion designer. Iespite
not having any training as a designer she
soon became very successful at it and
was dressing some of the most famous
women in the world which led to a huge
boom in the popularity of her clothes.
#ince then, she has continued to expand
her line of luxury products over the years
to include perfume, cologne, wedding
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gowns, scarves, handbags and other accessories. Her company has emerged as one of the
most successful fashion houses in ew ork. Her skills as a designer are well recognized
as she has won a number of awards in the field. #he has been able to build a brand that is
very distinguished and well respected in the world of high fashion.
#he was one of the first designers to make use of padded shoulders, believing
that broader shoulders made a woman-s waist appear smaller. #ome of her most notable
clients have been >acCueline 3ennedy Gnassis, Iuchess Iiana de %elo, %ichelle
Gbama, and actress <enEe Vellweger.
Career and "rand
!n )/14, Herrera began her career working as a publicist for Dmilio Pucci, a
Florentine %arCuis himself and a close family friend. FreCuently associating with %ick
and 'ianca >agger and &ndy ;arhol, at #tudio 40, she became well known for her
dramatic style. #he first appeared on the !nternational 'est Iressed List in )/6+, then
was elected to its Hall of Fame in )/*. !n )/*), her friend Iiana Kreeland, then Dditor"
in"9hief of Kogue suggested that 9arolina design a clothing line. #he did so, having
samples made in 9aracas, and debuted her collection at %anhattan-s %etropolitan 9lub tocritical acclaim. & well known Park &venue boutiCue, %artha-s, agreed to showcase her
clothing in their prominent windows. 2pon this initial success, she returned to 9aracas
and raised capital to fund a more formal launch. Her first runway show in )/* included
future supermodel !man. 9arolina Herrera presents her <eady"to";ear 9ollection
semiannually at %ercedes"'enz Fashion ;eek in ew ork.
& few of her most notable clients have included
>acCueline 3ennedy Gnassis, who asked her to design the dress
for her daughter 9aroline-s wedding, Iiana, Iuchess of
9adaval, who asked her to design the dress for her marriage
with Prince 9harles"Philippe of GrlEans, Iuke of &njou.
!n the late )/*s, #panish fragrance company Puig licensed the
9arolina Herrera name to develop and market a line of
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perfumes. !n )//4, the firm acCuired the 9arolina Herrera fashion business, retaining her
as 9reative Iirector. !n +*, they launched a ready"to"wear brand called 9H 9arolina
Herrera: as of +)+, there were )* 9arolina Herrera and 9H 9arolina Herrera boutiCues
in the world, and her lines were carried in +* stores in )0 countries. &s of +)), her
daughters 9arolina >r. and Patricia Lansing participated in the creative direction and
design. !n February +)1, it was reported by ;;I that the fragrance side of the business
had more than +4, points of sale across the globe while the 9H brand included )+/
freestanding stores.
!n +)4, the first advert for the brand was released, featuring models Dlisabeth
Drm and >osEphine Le $utour.
Calvin %lein
Fashion designer 9alvin 3lein is
known for his line of menswear and
womenswear. He also designs home
collections, fragrances and cosmetics.
9alvin 3lein is one designer that
holds the title as 7&merica(s 3ing of
9lothes.8 He started his fashion brand back
in the early seventies when he entered the
designer jean market, think of the infamous
'rooke #hields ad and has since dominated
the fashion world in every possible market.
9alvin 3lein is the ultimate in &merican
fashion design and has been able to give
people what they want for decades.
Calvin %lein3s success
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!n )/1* 3lein and close childhood friend 'arry #chwartz created a 9alvin
3lein coat business. $he first order was actually obtained by accident. & coat buyer from
'onwit $eller =a large ew ork 9ity clothing store@ got off on the wrong floor of a hotel
and wandered into 3lein-s workroom. #he placed an order for Z4 thousand, which was a
huge amount at that time. Dncouraged by favorable reviews from the fashion press and
the support of store executives, 3lein expanded his line to include women-s sportswear.
3lein-s world soon included his couture =fashionable custom"made women-s
clothing@ line, 9alvin 3lein 9ollection for men and women, 93 sportswear for men and
women, and 93 jeans. He also licensed arrangements for his menswear, coats,
accessories, intimate apparel, hosiery, swimwear, eyewear, furs, socks, and fragrances, all
under his careful control and management.
Gf the many categories licensed, denim jeans, along with fragrances, built alarge following among consumers, who sought an affordable way to attain the 9alvin
3lein look. 'y )//6 sales of 9alvin 3lein >eans approached half a billion dollars.
%arketing approach was never subtle
&dvertising was the key to 3lein-s success. He kept the media talking about him by
creating controversy =open to dispute@. He was the first to design women-s underwear that
looked like men-s jockey shorts. His television ads for jeans starred 'rooke #hields
=)/14?@, who proclaimedO Bothing comes between me and my 9alvins.B
3lein developed a
reputation for pushing
the boundaries of
acceptability in his
campaigns. &ds of the
mid")//s featured
young teenagers in
provocative poses that
many regarded as
socially irresponsible.
3lein eventually
cancelled these ads, but
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not before the accompanying publicity had made the 9alvin 3lein brand name a part of
everyday conversation.
3lein-s three major fragrances, Gbsession, Dternity, and Dscape, were huge
successes, also due in part to suggestive advertising. &dvertising for his fragrances, 93
Gne and 93 'e, continued to challenge the public. #ome ads showed teens taking part in
what some regarded as an idealized drug culture. &t this time, President 'ill 9linton
=)/01?@ admonished the fashion industry not to glamorize addiction. 3lein replied that
these ads represented a departure from phony airbrushed images that were not connected
to the reality of today-s world.
Stella McCartney
Fashion designer and committed vegetarian #tella %c9artney is the daughter of
ex"'eatle Paul %c9artney and his late wife, Linda.
Gne of the most well"known and outspoken fashion designers in the world, #tella
%c9artney launched her career in )//4, when friends and supermodels aomi 9ampbell
and 3ate %oss modeled her clothes at her college graduation. #he received the
KH)XKogue Iesigner of the ear &ward in +. !n +)+, %c9artney designed the
clothing for Jreat 'ritain-s Glympic team.
Career .eginnings
!n )//4 #tella %c9artney burst
into the fashion world when she invited
friends and super models aomi 9ampbell
and 3ate %oss to model a collection of
her clothes at her graduation from
London-s 9entral #t. %artins 9ollege of
&rt [ Iesign. $wo years later she was
tapped to be head designer at the fashion
house 9hloe.
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;hile critics said %c9artney-s name artificially accelerated her rise, %c9artney
Cuietly and Cuickly proved herself worthy of the appointment. Her creations catered
successfully to the needs and desires of young women and her tenure at the company is
generally regarded as a huge success.
(eading International 6esigner
!n +), %c9artney launched her own fashion house under her name in a joint
venture with Jucci Jroup =now 3ering@ and showed her first collection in Paris.
%c9artney now operates )6 freestanding stores in locations including %anhattan(s #oho,
London(s %ayfair, L&(s ;est Hollywood, Paris( Palais <oyal, 'arcelona-s Passeig de
Jracia and %ilan, and recently opened doors in <ome, %iami and Houston.Her
collections are now distributed in over 4 countries through 1 wholesale accounts
including specialty shops and department stores.
!n +5, %c9artney launched her first perfume, #tella. !n >anuary +6, %c9artney
launched a skincare line, 9&<D. $he )] organic line includes seven products, from a
cleansing milk made with lemon balm and apricot to green tea and linden blossom floral
water.!n +*, she launched
a new lingerie line. !n
ovember +), the
#tella %c9artney 3ids
collection was
launched for newborns
and children up to age)+. !n >une +)+,
%c9artney invited the #oul <ebels 'rass 'and to perform at her +)5 spring fashion
presentation hosted at the ew ork %arble 9emetery in ew ork 9ity on )) >une
+)+. Gther guests invited to the party included &nne Hathaway, >im 9arrey, &nna
;intour, &nnie Leibovitz, Lauren Hutton, &my Poehler, #olange 3nowles, P-$riCue,
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Jreta Jerwig and &ndrE Leon $alley.
!n addition to Jucci, %c9artney has teamed up with other companies, including
H[% and &didas. ;orking with &didas, %c9artney brought in to be creative director for
Jreat 'ritain-s +)+ Glympic team. #ince then, she has sought out other interesting
projects. %c9artney launched her sustainable evening wear line, the #tella %c9artney
Jreen 9arpet 9ollection, in +)0.
.u"erry/!ashion house
'urberry Jroup !nc is a 'ritish luxury fashion house, headCuartered in London,
Dngland. !ts main fashion house focuses on and distributes ready"to"wear outerwear,
fashion accessories, fragrances, sunglasses, and cosmetics. Dstablished in )*41 by $homas 'urberry, originally focusing on the
development of outdoors attire, the fashion house as moved on to the high fashion market
developing pattern"based scarves, trench coats, and other fashion accessories. $he first
shop opened up in the Haymarket, London, in )*/). 'urberry was an independent family
controlled company until )/44, when it was reincorporated. $he fashion house has
dressed notable actors, world leaders, musicians, and athletes such as Humphrey 'ogart,
&udrey Hepburn, Peter #ellers, and <onald <eagan.
!ts distinctive check pattern has become one of its most widely copied
trademarks. 'urberry is most famous for its trench coat. 'urberry has branded stores and
franchises around the world and sells through concessions in third"party stores. Aueen
Dlizabeth !! and the Prince of ;ales have granted the company <oyal ;arrants, which
have been maintained despite 'urberry-s closure of its factory in ;ales.
!n +)4, 'urberry ranked 65rd in !nterbrand-s 'est Jlobal 'rands report, ahead
of <alph Lauren and Hugo 'oss. 'urberry has more than 4 stores in over 4 countries.
&s 'urberry entered the new millennium, its financial results improveddramatically. $he &sian market recovered, its Duropean and &merican markets grew, and
its new brand strategy began to pay off. $rading profits increased )5 percent over the
previous year and sales rose by )) percent. $he company also closed nonprofitable stores
and opened new stores in Las Kegas, evada and in $okyo. 'urberry also opened a new
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three"floor flagship store in London that was )1, sCuare feet in size and featured new
product lines including lingerie and swimwear. & new licensing agreement was signed
with %itsui in >apan, securing a greater share of profits from that region, and the firm
acCuired its #pain"based licensee""#pain was the firm-s second largest market after >apan.
Principal 9ompetitorsO House of Fraser plc: Polo <alph Lauren 9orporation.
.i"liography and e"liography
.reward, 9hristopher, $he 9ulture of FashionO a new history of fashionable dress,
%anchesterO %anchester 2niversity Press, +5
*ollander, &nne, #eeing through 9lothes, 'erkeleyO 2niversity of 9alifornia Press,
)//5
Martin, <ichard =)//*@. &merican !ngenuityO #portswear )/5s")/6s. ew orkO
$he %etropolitan %useum of &rt.
Steele, Kalerie, Dncyclopedia of 9lothing and Fashion, IetroitO $homson Jale,
+4
www.wikipedia.com
www.biography.com
www.notablebiographies.com
www.fashion.hellomagazine.com
www.thefamouspeople.com