Atestat Lb Engleza

8/15/2019 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



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.#.&



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+



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



!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. &lthough %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

https://en.wikipedia.org/wiki/Fashion

https://en.wikipedia.org/wiki/Fashion_houses

https://en.wikipedia.org/wiki/Charles_Frederick_Worth


https://en.wikipedia.org/wiki/Rose_Bertin

https://en.wikipedia.org/wiki/Fashion

https://en.wikipedia.org/wiki/Fashion_houses



https://en.wikipedia.org/wiki/Rose_Bertin





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

https://en.wikipedia.org/wiki/Conspicuous_consumption


https://en.wikipedia.org/wiki/Elizabeth_Wharton_Drexel

https://en.wikipedia.org/wiki/Ballets_Russes


https://en.wikipedia.org/wiki/Scheherazade

https://en.wikipedia.org/wiki/Orientalism

https://en.wikipedia.org/wiki/Paul_Poiret



https://en.wikipedia.org/wiki/Elizabeth_Wharton_Drexel



https://en.wikipedia.org/wiki/Scheherazade

https://en.wikipedia.org/wiki/Orientalism

https://en.wikipedia.org/wiki/Paul_Poiret



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

*

https://en.wikipedia.org/wiki/Harem

https://en.wikipedia.org/wiki/Geisha

https://en.wikipedia.org/wiki/Kimono

https://en.wikipedia.org/wiki/Art_Deco

https://en.wikipedia.org/wiki/Jeanne_Paquin

https://en.wikipedia.org/wiki/Jacques_Doucet_(fashion_designer)


https://en.wikipedia.org/wiki/Mariano_Fortuny_(designer)

https://en.wikipedia.org/wiki/Impressionist

https://en.wikipedia.org/wiki/Venice

https://en.wikipedia.org/wiki/Harem

https://en.wikipedia.org/wiki/Geisha

https://en.wikipedia.org/wiki/Kimono

https://en.wikipedia.org/wiki/Art_Deco

https://en.wikipedia.org/wiki/Jeanne_Paquin



https://en.wikipedia.org/wiki/Mariano_Fortuny_(designer)

https://en.wikipedia.org/wiki/Impressionist

https://en.wikipedia.org/wiki/Venice



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. &lthough, 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.

/

https://en.wikipedia.org/wiki/Eleonora_Duse

https://en.wikipedia.org/wiki/Isadora_Duncan

https://en.wikipedia.org/wiki/Cl%C3%A9o_de_M%C3%A9rode


https://en.wikipedia.org/wiki/Marchesa_Casati

https://en.wikipedia.org/wiki/%C3%89milienne_d%E2%80%99Alen%C3%A7on

https://en.wikipedia.org/wiki/Liane_de_Pougy

https://en.wikipedia.org/wiki/Eleonora_Duse

https://en.wikipedia.org/wiki/Isadora_Duncan



https://en.wikipedia.org/wiki/Marchesa_Casati

https://en.wikipedia.org/wiki/%C3%89milienne_d%E2%80%99Alen%C3%A7on

https://en.wikipedia.org/wiki/Liane_de_Pougy



$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.

)



!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



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

)+



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



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. &lthough 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



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



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

)1





)/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

)*



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

)/



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

+



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

+)



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.

&nother popular 'ritish style was the resolutely

++



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.

+5



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

Geoffre' Beene ou+fi+



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

+4

https://en.wikipedia.org/wiki/Spandex

https://en.wikipedia.org/wiki/Spandex



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

+1



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.

+6



!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

+*



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

+/



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

5





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.

5+



;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

55



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. &nother 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

50



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

54



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

51



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

56



!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

5*



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.

5/



;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,

0



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

0)



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

http://www.wikipedia.com/

http://www.biography.com/

http://www.notablebiographies.com/


http://www.fashion.hellomagazine.com/

http://www.thefamouspeople.com/

http://www.wikipedia.com/

http://www.biography.com/


http://www.fashion.hellomagazine.com/

http://www.thefamouspeople.com/

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