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Absolvent:

FASHION

ontent
Introduction

I. II. III. IV. V. VI.

History Fashion Analysis-comparison between 16th century and 19th century Fashion design Fashion Wee !tyle Analysis-"omparison between #aris and $%" &ibliography

http'((www.)ashion-era.com( http'((www.wi ipedia.org http'((www.)ull)rontal)ashion.com "on)essions o) a shopaholic by !ophie *insella

Introduction
I have chosen this subject because I have always been passionate about clothing and beauty. For centuries individuals or societies have used clothes and other body adornment as a form of nonverbal communication to indicate occupation, rank, gender, sexual availability, locality, class, wealth and group affiliation. Fashion is a form of free speech. It not only embraces

clothing, but also accessories, jewellery, hairstyles, beauty and body art. What we wear and how and when we wear it, provides others with a shorthand to subtly read the surface of a social situation. In the first chapter of my graduation paper I will speak about the history of fashion, where did it appear, how developed during time. The second chapter contains a comparison between two different fashions, because they are in different period of times, !!"# $""s and %$"s. In the third chapter I will talk about what means to design clothes. Fashion design is the art of the application of design and aesthetics or natural beauty to clothing and accessories. Fashion design is influenced by cultural and social lattitudes, and has varied over time and place. The forth chapter contains some pieces of information about the semi#annual &ew 'ork Fashion Week, branded (ercedes#)en* FashionWeek in +"",, which is held in February and -eptember of each year in &ew 'ork .ity. It is one of four major fashion weeks held around the world, along with those in /aris, 0ondon, and (ilan. The fifth chapter contains the differece between /aris and &ew 'ork .ity concerning the way of getting dressed. To sum up, the final chapter includes my personal opinion about fashion and what we express by clothing.

HIS!O"#
Fashion, a general term for a currently popular style or practice, especially in clothing, foot wear or accessories. Fashion references to anything that is the current trend in look and dress up of a person. The more technical term, costume, has become so linked in the public eye with the term "fashion" that the more general term "costume" has in popular use mostly been relegated to special senses like fancy dress or masquerade wear, while the term "fashion" means clothing generally, and the study of it.

The beginnings of the habit in Europe of continual and increasingly rapid change in clothing styles can be fairly reliably dated to the middle of the 14th century, to which historians including ames !a"er and Fernand #raudel date the start of $estern fashion in clothing. The most dramatic manifestation was a sudden drastic shortening and tightening of the male o"er%garment, from calf%length to barely co"ering the back, sometimes accompanied with stuffing on the chest to look bigger. This created the distincti"e $estern male outline of a tailored top worn o"er leggings or trousers. The change accelerated considerably in the following century, and women and men&s fashion, especially in the dressing and adorning of the hair, became equally comple' and changing. (rt historians are able to use fashion in dating images with increasing confidence and precision, often within fi"e years in the case of 1)th century images. *nitially changes in fashion led to a fragmentation of what had pre"iously been "ery similar styles of dressing across the upper classes of Europe, and the de"elopment of distincti"e national styles. These remained "ery different until a counter%mo"ement in the 1+th to 1,th centuries imposed similar styles once again, mostly originating from (ncien -.gime France. Though the rich usually led fashion, the increasing affluence of early modern Europe led to the bourgeoisie and e"en peasants following trends at a distance sometimes uncomfortably close for the elites/a factor #raudel regards as one of the main motors of changing fashion. Though colors and patterns of te'tiles changed from year to year, the cut of a gentleman&s coat and the length of his waistcoat, or the pattern to which a lady&s dress was cut, changed more slowly. 0en&s fashions largely deri"ed from military models, and changes in a European male silhouette are gal"ani1ed in theatres of

European war, where gentleman officers had opportunities to make notes of foreign styles2 an e'ample is the "3teinkirk" cra"at or necktie. (lthough tailors and dressmakers were no doubt responsible for many inno"ations before, and the te'tile industry certainly led many trends, the history of fashion design is normally taken to date from 1,),, when the English%born Charles Frederick Worth opened the first true haute couture house in 4aris. 3ince then the professional designer has become a progressi"ely more dominant figure, despite the origins of many fashions in street fashion. For women the flapper styles of the 1567s marked the most ma8or alteration in styles for se"eral centuries, with a drastic shortening of skirt lengths, and much looser%fitting clothes9 with occasional re"i"als of long skirts forms of the shorter length ha"e remained dominant e"er since. 0odern $esterners ha"e a wide choice a"ailable in the selection of their clothes. $hat a person chooses to wear can reflect that person&s personality or likes. $hen people who ha"e cultural status start to wear new or different clothes, a fashion trend may start. 4eople who like or respect them may start to wear clothes of a similar style.

Fashion Analysis
Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography as well as over time. I have decided to make a comparison between fashion during fashion. !!"# $"" and fashion in the %$"s concerning women1s

$%%&'$(&&s in )as*ion
Fashion in the period !!"2 $"" in Western 3uropean clothing is characteri*ed by increased opulence, the rise of the ruff, the expansion of the farthingale. Fabrics and trims -hirts and chemises were embroidered with blackwork and edged in lace, and heavy cut velvets and brocades were further ornamented with applied bobbin lace, gold and silver embroidery, and jewels. .lothing was fastened with buttons or tied with cord or ribbon points. For the wealthy, buttons were made of silver and gold and set with gemstones, and points were tipped

$+(&s in )as*ion
%$"s fashion in 3uropean is characteri*ed by extremely full#skirted women4s fashions relying on crinolines and hoops and the emergence of 5alternative fashions5 under the influence of the 6rtistic 7ress movement. Fabrics and trims 8eavy silks in solid colors became fashionable for both day and evening wear.

with aiguillettes or aiglets of precious metals. ,o-ns 9owns with hanging sleeves in various styles, often lined in fur, were worn as an extra layer indoors and out through the period. 0oose gowns of the !$"s hung from the shoulders, and some had puffed upper sleeves. 0oose gowns could be worn over a one#piece kirtle or under#dress, usually laced at the back. 0ater gowns were fitted to the figure and had full or round sleeves with a wristband. These were worn over a bodice and matching skirt or petticoat and undersleeves. 3xtremely long hanging sleeves came into fashion at the end of the period. Outer-ear Women wore sturdy overskirts called safeguards over their gowns for riding or travel on dirty roads. 8ooded cloaks were worn overall in bad weather. Accessories The fashion for wearing or carrying the pelt of a sable or marten spread from continental 3urope into 3ngland in this period: costume historians call these accessories or 5flea furs5. The most expensive *ibellini had faces and paws of goldsmith4s work with jewelled eyes. 9loves of perfumed leather featured embroidered cuffs. ,o-ns )y the early %$"s, skirts had reached their ultimate width. 7ay dresses featured wide pagoda sleeves worn over undersleeves or engageantes. 8igh necklines with lace or tatted collars or chemisettes completed the demure daytime look. 0arge crinolines were reserved for balls,

weddings and other special occasions.

Outer-ear 0ong coats were impractical with the very full skirts, and the common outer garments were s;uare shawls folded on the diagonal to make a triangle and fitted or unfitted hip# length or knee#length jackets. Accesories 3vening dresses had low necklines and short sleeves, and were worn with short gloves or lace or crocheted fingerless mitts. -kirts were now assembled of shaped panels, since gathering a straight length of fabric could not provide the width re;uired at the hem without unwanted bulk at the waist:

Hairst.les and *eadgear 3arly in the period, hair was parted in the center and fluffed over the temples: later front hair was curled and puffed high over the forehead. Wigs and false hairpieces were used to extend the hair. In keeping with tradition, married women in &orthern 3urope wore their hair pinned up and covered. 6 close#fitting linen cap called a coif or biggins was worn, alone or under other hats or hoods. In this period, women began to wear hats similar to those worn by men, usually over a caul or coif. Widows in mourning wore black hoods with sheer black veils. First#time brides wore their hair down in token of virginity and wore orange blossoms in their hair.

this spelled the end of the brief fashion for border#printed dress fabrics.

/ndergarments 6s skirts became narrower and flatter in front, more emphasis was placed on the waist and hips. 6 corset was therefore used to help mold the body to the desired shape.

Hairst.les and *eadgear 8air was worn parted in the middle and smoothed, waved, or poofed over the ears, then braided or 5turned up5 and pinned into a roll or low bun at the back of the neck. -uch styling was usually maintained by the use of hair oils and pomades.

-tyled hair was often further confined in decorative hairnets. Fashion )onnets for outdoor wear had small brims that revealed the face. )onnets could be made of a variety of materials. )onnets formed from buckram and wire and covered with fashion fabric were very popular. 7uring the warmer seasons, bonnets made of straw, woven horsehair, or gathered net were also seen. 8eavier materials like velvet were favored for winter bonnets, though ;uilted winter hoods were much more practical and warm. )onnets fell out of

fashion over the decade in favor of small hats.

FASHION DESIGN
Fashion design is the art of the application of design and aesthetics or natural beauty to clothing and accessories. Fashion design is influenced by cultural and social lattitudes, and has "aried o"er time and place. Fashion designers attempt to satisfy consumer desire for aesthetically designed clothing by working in a number of ways in designing clothing and accessories.9 and, because of the time required to bring a garment onto the market, must at times anticipate changing consumer tastes. Fashion designers attempt to design clothes which are functional as well as aesthetically pleasing. They must consider who is likely to wear a garment and the situations in which it will be worn. They ha"e a wide range and combinations of materials to work with and a wide range of colors, patterns and styles to choose from. Though most clothing worn for e"eryday wear fall within a narrow range of con"entional styles, unusual garments are usually sought for special occasions, such as e"ening wear or party dresses. Fashion design is generally considered to ha"e started in the 15th century with :harles Frederick $orth who was the first designer to ha"e his label sewn into the garments that he created. #efore the former draper set up his maison couture ;fashion house< in 4aris, clothing design and creation was handled by largely anonymous seamstresses, and high fashion descended from that worn at royal courts. $orth&s success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done. The term couturier was in fact first created in order to describe him. $hile all articles of clothing from any time period are studied by academics as costume design, only clothing created after 1,), could be considered as fashion design. *t was during this period that many design houses began to hire artists to sketch or paint designs for garments. The images were shown to clients, which was much cheaper than producing an actual sample garment in the workroom. The garments produced by clothing manufacturers fall into three main categories, although these may be split up into additional, more specific categories2
Haute couture

=ntil the 15)7s, fashion clothing was predominately designed and manufactured on a made%to% measure or haute couture basis ;French for high%fashion<, with each garment being created for a specific client. ( couture garment is made to order for an indi"idual customer, and is usually made from high%quality, e'pensi"e fabric, sewn with e'treme attention to detail and finish, often using time%consuming, hand%e'ecuted techniques. !ook and fit take priority o"er the cost of materials and the time it takes to make. Ready-to-wear -eady%to%wear clothes are a cross between haute couture and mass market. They are not made for indi"idual customers, but great care is taken in the choice and cut of the fabric. :lothes are made in small quantities to guarantee e'clusi"ity, so they are rather e'pensi"e. -eady% to%wear collections are usually presented by fashion houses each season during a period known as Fashion Week. This takes place on a city%wide basis and occurs twice a year.

Mass market :urrently the fashion industry relies more on mass market sales. The mass market caters for a wide range of customers, producing ready%to%wear clothes in large quantities and standard si1es. *ne'pensi"e materials, creati"ely used, produce affordable fashion. 0ass market designers generally adapt the trends set by the famous names in fashion. They often wait around a season to make sure a style is going to catch on before producing their own "ersions of the original look. *n order to sa"e money and time, they use cheaper fabrics and simpler production techniques which can easily be done by machine. The end product can therefore be sold much more cheaply.

FASHION WEEK
( fashion week is a fashion industry e"ent, lasting appro'imately one week, which allows fashion designers, brands or "houses" to display their latest collections in runway shows and buyers can take a look at the latest trends. 0ost importantly, it lets the industry know what&s "in" and what&s "out" for the season. The most prominent fashion weeks are held in the four fashion capitals of the world2 >ew ?ork :ity, !ondon, 0ilan, and 4aris. New York City
+he semi-annual New York Fashion Week, branded Mercedes-Benz FashionWeek in -..9, is held in February and !eptember o) each year in $ew %or "ity. +he )irst $ew %or Fashion Wee , then called #ress Wee , was the world/s )irst organi0ed )ashion wee . Held in 1912, the e3ent was designed to attract attention away )rom French )ashion during World War II, when )ashion industry insiders were unable to tra3el to #aris to see French )ashion shows. Fashion publicist 4leanor 5ambert organi0ed an e3ent she called 6#ress Wee 6 to showcase American designers )or )ashion 7ournalists, who had pre3iously neglected their inno3ations. 8&uyers were not admitted to the shows and instead had to 3isit designers/

showrooms.9 #ress Wee was a success, and )ashion maga0ines li e Vogue, which were normally )illed with French designs, increasingly )eatured American )ashion. In 1991, the e3ent was mo3ed to its )ormer site in &ryant #ar , where it was held inside a series o) large white tents in the almost-bloc -long par . Admission is by in3itation only, to the )ashion industry, )ashion press, assorted celebrities, and internet based Fashion press. &eginning in February -..9, many designers opted out o) their usual &ryant #ar tent )ashion shows because o) the current economy and held smaller presentations. :ue to increasing pressure )rom &ryant #ar management, ;ercedes-&en0 Fashion Wee is hosted in :amrosch #ar at the 5incoln "enter )or the #er)orming Arts )or the )irst time starting in !eptember -.1.. ;ercedes-&en0 Fashion Wee is perhaps the most wellnown e3ent held during $ew %or Fashion Wee , but not the only one. ;any top-name designers show their collections at other 3enues, including <alph 5auren, :onna *aran, "al3in *lein and ;arc =acobs. :o0ens o) other )ashion shows and related e3ents are held around the city during $ew %or Fashion Wee , including "outure Fashion Wee $% at the Waldor)-Astoria and iFashion Wee by iFashion $etwor and i"oncept ;edia >roup )ocusing on emerging and independent designers.

PARIS Vs. NYC

Analysis
They say there is a great gap in trends between &ew 'ork and /aris editors, stylists and publicists. 0ess 6merican boys are in their colorful heritage brands while the French gar<ons are sporting their dark and artsy 7ior 8omme. 6re these fashion worlds really that different= 6 variety of men on both sides were asked about their personal style and what they think about the difference between the fashion outlook from the .ity of 0ights compared to the .ity that &ever -leeps.

Name

Adam Shapiro (Senior Publicist at KCD)

In womens wear, /aris is couture. )ut in the menswear market, /aris is street. )oys in /aris shake things up.

&ew 'ork is street &ew 'ork is couture. &'. men really make an effort to be manly, buttoned up and tailored. &'. is more form follows function and utilitarian in comparison.

Eamon Wood (Advertising Sales Manager)

I think they are so different because the mentality of the people in the cities is different. /aris treats their fashion more like an art form, taking risks that people in other cities are not comfortable taking.

Chris Corrado (Director of sales BPMW Agency)

/aris is the fashion capital of the world. When you carry a title like that, it>s hard to settle on something that seems ?done already.5 /aris will always push boundaries, take chances, and fearlessly take to the streets in the most impractical designs the runway has to offer. 6 /arisian wants nothing more than to think of himself as an artist. In my opinion the main difference between &'. and /aris is the history, and it reflects well in fashion. We tend to mix a lot of influences that would not obviously meld in &'.. /aris likes to takes risks. )ut in /aris there is also a historic background and the fashion business here knows how to use it. )ut that doesn>t mean that all French people have style@ )ecause I live in /aris, I live in France A and I live in 3urope where we have long since forgotten the uniform.

&'., while incredibly fashionable, is still an 6merican city, and 6mericans sure do love their functionality.

David Hart (Tie Designer) Marc Leblond (Creative and Sales Director of Noir Basic)

6 &ew 'orker wants nothing more than to think of himself as a self# made man. 6merican hipsters are into one style, which seems to be very preppy at the moment.

Jonathan Moscatelli (Publicist at Tote )

&'. is more about preppy and classic.

Sbastien De Almeida (owner of vintage shop BDA)

Bn the contrary, in the C-6, it continues to be in the vocabulary at work and at school.

Marc Zaff to (Pro oter ! Club Sand"ic#

The shows in /aris are more creative and cra*y for men but there are also French who are super clasic.

in &'. they are more classical. )ut when I go out I often meet &ew 'orkers with cra*y outfits.

To sum up, we can seen people of both nationalities being dreesed clasical, but also with cra*y outfits. /aris designers are seen as artists, being more creative and nonconformist, while 6mericans love functionality and they make efforts to be butoned up and tailored.