What Is The Best Way To Begin Learning About Fashion

What is the best way to begin learning
about fashion, trends, and fashion

designers?
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I know a bit, but not much. What are some ways to educate myself when it comes to
fashion?
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11 "nswers
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2olanda %ae3 Charneco 'dd 4io ,ake 'nonymous
'dd your answer, or answer later.

5athryn #inney, 6!"rah of the Internet6 . !ne of the ... (more
4 0otes by #rancisco Ceruti, ,arie Stein, 7nsah ,alik, and 8atasha 5a3achenko
'ctually celebrities are usually the si(n that a trend is nearin( it+s end and by the time
most trends hit ma(a3ine like 9o(ue, they+re on the way out. .he best way to disco0er
and follow fashion trends is to do one of three thin(s&
1. !rder a Subscri"tion to Women+s Wear :aily. .his is the industry trade "a"er and has
a lot of details on what+s ha""en in fashion from both a trend and business le0el. .he
website is 1uite (ood at distillin(
;. Set u" a feed reader (or (et an a"" like #li"board if you ha0e an i"hone*i"ad and add
the followin( blo(s to your reader& Cool )untin( (www.coolhuntin(.com, <C -e"ort
(www.=cre"ort.com, 9ma( (www.0ma(.com, thesartorialist.blo(s"ot.com*,
www.Street"ee"er, 4ud(et #ashionista (www.thebud(etfashionista.com and W
,a(a3ine. .hese are (reat "laces to start, but don+t be afraid to e>"lore. .here+s a ton of
(reat street style blo(s.
?. -ead .rend re"orts from firms like .he :one(er @rou"A www.doneger.com, which
ha0e free trend re"orts online and also %antone, which releases the to" colors for the u"
comin( season se0eral months ahead of time on their site.

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1 Comment Share Embed .hank ;B <an, ;C11

,eredith %owell, #ashion %ro * 4i3 :e0 * 'd0isor
www.wwd.com
www.businessoffashion.com
www.style.com
www.weconnectfashion.com
www.fashiontoast.com
www.refinery;D.com
www.whowhatwear.com
www.rachel3oe.com
,ore (enerally (and likely you are already usin( these tools?, be sure to =um" on
/inkedIn, .witter, %interest, %ath, Insta(ram, #4 etc to find E follow your fa0es.
'lso, my ti" is to ski" fashion school (unless you are an as"irin( desi(ner or want to
"ursue "roduction.

#astAtrack your learnin( by headin( down to your local (arment disctrict and knockin(
on doors for an internshi". !nA=ob e>"erience E networkin( is key.
)a""y browsin( E best of luckF

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,adeline 9eenstra, CoAfounder of Wikifashion
'"art from (ettin( a subscri"tion to WW:, I+d recommend Style.com and =oinin(
thefashions"ot.com forums.

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<essica Hhan(, Student at Columbia 7ni0ersity
htt"&**www.wwd.com*
htt"&**www.style.com*
htt"&**www.thefashions"ot.com*
htt"&**www.fashionista.com*
htt"&**www.racked.com*
htt"&**www.refinery;D.com*
htt"&**www.whowhatwear.com*
htt"&**www.stylelist.com*
htt"&**www.fabsu(ar.com*
htt"&**www.fashionolo(ie.com*
htt"&**www.blo(lo0in.com*

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'nna %inkman
-ead fashion ma(a3ines, websites and blo(s.

I like www.refinery;D.com and Street %ee"er

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<enny 4owes, fashion desi(ner for modern women
'lways look into the
history of fashion, this is where you will learn the most. .here are so many
ways to access this information, internet, current and back dated ma(a3ines and
books.

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Comment Share Embed .hank 11 '"r, ;C1;

%riyaa Iyer, Code coolie
1 0ote by ,eera ,ukundan
5ee" window sho""in( and tryin( on different kinds of clothes, also check out what
women around you wear and how women in the mo0ies are dressed u". #ashion is more
about carryin( off what suits you well, and dressin( for the occasion. So the internet
could hel" you out with that immensely,also can ma(a3ines like 9o(ue etc.

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5endall )erbst, Style7" CoA#ounder
1 0ote by -yan Choi
If you don+t ha0e time to scan throu(h a 3illion blo(s on a daily basis or the money to
subscribe to a bunch of ma(a3ines, I+d hi(hly su((est =oinin( .he Style7" for free.
We+ll kee" you u"dated on current trends and affordable ways to sho" the new styles.

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4onnie @hetler, in ,ontreal Canada
-ead 9o(ue and some of the other #ashion trade ma(s like Women+s Wear :aily,
.here+s also fashion tele0ision.

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Cam,i %ham, #ashion 4lo((er
1. -ead fashion ma(a3ine like 9o(ue or website like style.com
It is also a (ood idea to read some fashion blo(s. .here are ama3in( blo(s out there &
;. %ay attention to what celebrities wear, usually they start new trends
?. 4e a member of fashion forums. 2ou can learn a lot from other "eo"le.
If you ha0e any other 1uestions, feel free to contact*ask me &
)o"e it hel"s
Cam,i

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/inda )arkin, %roduct mana(er, fashion analyst and ... (more
#ashion newsletters &A .hey are 0ery informati0e and (i0e you u"dates about the current
ha""enin(s of the fashion industry.
!nline fashion markets &A 9isit some of the online fashion markets such as asos.com ,
"oly0ore.com, bouti1ues.com where you can see fashion "roducts dis"layed by 0arious
brands and (et an idea of current fashion.
:esi(ner websites&A @et the names of some fashion desi(ners from ma(a3ines such as
8ew 2ork times and search for their website where you can (et to see their desi(ns and
understand their style.
#ashion blo(s &A -ead fashion blo(s that co0er the fashion industry, clothin(, and
"ersonal style. Search for fashion blo(s in 4lo(lo0in.com, that co0ers a ran(e of fashion
industry ha""enin(s.
#ashion forecast re"ort &A ,any minds work to(ether at the forecastin( fashion for the
ne>t season and release a re"ort. -eadin( that re"ort can certainly hel" you to be a "art
of the u"comin( trend. .ake a look at to" trend re"ort like .obeJs re"ort , Worth @lobal
Style 8etwork and Stylesi(ht.
KEres consciente del "otencial de tu ima(en y estilo "ersonal como herramienta de
"oder "ersonal? ' esta y otras "re(untas res"onde este interesante seminario de estilo
im"artido "or la Escuela de %eriodismo y ComunicaciLn de 7nidad Editorial.
Siem"re nos lo han dicho. 7na ima(en 0ale mMs 1ue mil "alabras. Si, ademMs, hablamos
de la ima(en "ersonal, la im"ortancia se multi"lica.
%or eso mismo, "or la im"ortancia de nuestra ima(en, se(uro 1ue te encantarM este
seminario de estilo 1ue te "ermitirM descubrir el "otencial de tu estilo en el Mmbito
"ersonal y "rofesional. El curso res"onde a "re(untas cLmo& $%res &ons&iente del
'oten&ial de tu i(agen y estilo 'ersonal &o(o herra(ienta de 'oder 'ersonal? o
$Sabes &)(o influye tu estilo en tu 'rodu&ti*idad y tu +,ito 'rofesional o
e('resarial?
El seminario estM im"artido "or -sabel .aner, estilista freelance, licenciada en )istoria
del 'rte, y Rafael /art0ne1 "lonso, director en el Nrea de Estrate(ia de .elefLnica.
2ashion
#rom Wiki"edia, the free encyclo"edia
<um" to& na0i(ation, search
#or other uses, see #ashion (disambi(uation.
6,enswear6 redirects here. #or the musical (rou", see ,enswear (band.
3his arti&le has (ulti'le issues. %lease hel" i('ro*e it or discuss these issues
on the tal# 'age.
.his article needs additional &itations for *erifi&ation. (September 2011)
.his article may contain wordin( that 'ro(otes the sub4e&t in a sub4e&ti*e
(anner without i('arting real infor(ation. (September 2011)
In Following the Fashion (1ODB, <ames @illray caricatured a fi(ure flattered by the
shortAbodiced (owns then in fashion, contrastin( it with an imitator whose fi(ure is not
flattered.
2ashion is a (eneral term for a "o"ular style or "ractice, es"ecially in clothin(,
footwear, accessories, makeu", body "iercin(, or furniture. #ashion refers to a
distincti0e and often habitual trend in the style with which a "erson dresses, as well as
to "re0ailin( styles in beha0iour. #ashion also refers to the newest creations of te>tile
desi(ners.
P1Q
.he more technical term, costume, has become so linked to the term
6fashion6 that the use of the former has been rele(ated to s"ecial senses like fancy dress
or mas1uerade wear, while 6fashion6 means clothin( more (enerally and the study of it.
'lthou(h as"ects of fashion can be feminine or masculine, some trends are
andro(ynous.
P;QP?Q
Contents
1 Clothin( fashions
; #ashion industry
? ,edia
B 'nthro"olo(ical "ers"ecti0e
G Intellectual "ro"erty
R #ashion for a cause
O See also
I -eferences
D 4iblio(ra"hy
1C #urther readin(
11 E>ternal links
Clothing fashions
;CCI Ed )ardy runway show
,ain article& )istory of Western fashion
Early Western tra0elers, whether to %ersia, .urkey, India, or China fre1uently remark
on the absence of chan(es in fashion there, and obser0ers from these other cultures
comment on the unseemly "ace of Western fashion, which many felt su((ested an
instability and lack of order in Western culture. .he <a"anese Sho(un+s secretary
boasted (not com"letely accurately to a S"anish 0isitor in 1RCD that <a"anese clothin(
had not chan(ed in o0er a thousand years.
PBQ
)owe0er in ,in( China, for e>am"le, there
is considerable e0idence for ra"idly chan(in( fashions in Chinese clothin(.
PGQ
Chan(es
in costume often took "lace at times of economic or social chan(e (such as in ancient
-ome and the medie0al Cali"hate, but then a lon( "eriod without ma=or chan(es
followed. .his occurred in ,oorish S"ain from the Ith century, when the famous
musician Hiryab introduced so"histicated clothin(Astyles based on seasonal and daily
fashion from his nati0e 4a(hdad and his own ins"iration to CLrdoba in 'lA'ndalus.
PRQPOQ

Similar chan(es in fashion occurred in the ,iddle East from the 11th century, followin(
the arri0al of the .urks, who introduced clothin( styles from Central 'sia and the #ar
East.
PIQ
.he be(innin(s of the habit in Euro"e of continual and increasin(ly ra"id chan(e in
clothin( styles can be fairly reliably dated to the middle of the 1Bth century, to which
historians includin( <ames /a0er and #ernand 4raudel date the start of Western fashion
in clothin(.
PDQP1CQ
.he most dramatic manifestation was a sudden drastic shortenin( and
ti(htenin( of the male o0erA(arment, from calfAlen(th to barely co0erin( the buttocks,
sometimes accom"anied with stuffin( on the chest to look bi((er. .his created the
distincti0e Western male outline of a tailored to" worn o0er le((in(s or trousers.
.he "ace of chan(e accelerated considerably in the followin( century, and women and
men+s fashion, es"ecially in the dressin( and adornin( of the hair, became e1ually
com"le> and chan(in(. 'rt historians are therefore able to use fashion in datin( ima(es
with increasin( confidence and "recision, often within fi0e years in the case of 1Gth
century ima(es. Initially chan(es in fashion led to a fra(mentation of what had
"re0iously been 0ery similar styles of dressin( across the u""er classes of Euro"e, and
the de0elo"ment of distincti0e national styles. .hese remained 0ery different until a
counterAmo0ement in the 1Oth to 1Ith centuries im"osed similar styles once a(ain,
mostly ori(inatin( from 'ncien -S(ime #rance.
P11Q
.hou(h the rich usually led fashion,
the increasin( affluence of early modern Euro"e led to the bour(eoisie and e0en
"easants followin( trends at a distance sometimes uncomfortably close for the elitesTa
factor 4raudel re(ards as one of the main motors of chan(in( fashion.
P1;Q
'lbrecht :Urer+s drawin( contrasts a well turned out bourgeoise from 8urember( (left
with her counter"art from 9enice. .he 9enetian lady+s hi(h cho"ines make her look
taller.
.en 1Rth century "ortraits of @erman or Italian (entlemen may show ten entirely
different hats, and at this "eriod national differences were at their most "ronounced, as
'lbrecht :Urer recorded in his actual or com"osite contrast of 8urember( and 9enetian
fashions at the close of the 1Gth century (illustration, right. .he 6S"anish style6 of the
end of the century be(an the mo0e back to synchronicity amon( u""erAclass Euro"eans,
and after a stru((le in the mid 1Oth century, #rench styles decisi0ely took o0er
leadershi", a "rocess com"leted in the 1Ith century.
P1?Q
.hou(h colors and "atterns of te>tiles chan(ed from year to year,
P1BQ
the cut of a
(entleman+s coat and the len(th of his waistcoat, or the "attern to which a lady+s dress
was cut chan(ed more slowly. ,en+s fashions lar(ely deri0ed from military models, and
chan(es in a Euro"ean male silhouette are (al0ani3ed in theaters of Euro"ean war,
where (entleman officers had o""ortunities to make notes of forei(n styles& an e>am"le
is the 6Steinkirk6 cra0at or necktie.
,arie 'ntoinette, wife of /ouis V9I, leader of fashion
.he "ace of chan(e "icked u" in the 1OICs with the increased "ublication of #rench
en(ra0in(s that showed the latest %aris stylesW thou(h there had been distribution of
dressed dolls from #rance as "atterns since the 1Rth century, and 'braham 4osse had
"roduced en(ra0in(s of fashion from the 1R;Cs. 4y 1ICC, all Western Euro"eans were
dressin( alike (or thou(ht they were& local 0ariation became first a si(n of "ro0incial
culture, and then a bad(e of the conser0ati0e "easant.
P1GQ
'lthou(h tailors and dressmakers were no doubt res"onsible for many inno0ations
before, and the te>tile industry certainly led many trends, the history of fashion desi(n
is normally taken to date from 1IGI, when the En(lishAborn Charles #rederick Worth
o"ened the first true haute couture house in %aris. .he )aute house was the name
established by (o0ernment for the fashion houses that met the standards of industry.
.hey ha0e to adhere to standards such as& kee"in( at least ;C em"loyees en(a(ed in
makin( the clothes, showin( two collections "er year at fashion shows, and "resentin( a
certain number of "atterns to costumers.
P1RQ
Since then the "rofessional desi(ner has
become a "ro(ressi0ely more dominant fi(ure, des"ite the ori(ins of many fashions in
street fashion. #or women the fla""er styles of the 1D;Cs marked the most ma=or
alteration in styles for se0eral centuries, with a drastic shortenin( of skirt len(ths and
much looserAfittin( clothesW with occasional re0i0als of lon( skirts, 0ariations of the
shorter len(th ha0e remained dominant e0er since. #la""ers also wore cloches, which
were snu( fittin( and co0ered the forehead. )er shoes had a heel and some sort of
buckle. .he most im"ortant "art was the =ewelry, such as& earrin(s and necklaces that
had diamonds or (ems. .he fla""er (a0e a "articular ima(e as bein( seducti0e due to
her short len(th dress, which was form fittin(, and the lar(e amounts of rich =ewelery
around her neck.
.he four ma=or current fashion ca"itals are acknowled(ed to be %aris, ,ilan, 8ew 2ork
City, and /ondon, which are all head1uarters to the (reatest fashion com"anies and are
renowned for their ma=or influence on (lobal fashion. #ashion weeks are held in these
cities, where desi(ners e>hibit their new clothin( collections to audiences. ' succession
of ma=or desi(ners such as Coco Chanel and 20es SaintA/aurent ha0e ke"t %aris as the
center most watched by the rest of the world, althou(h haute couture is now subsidi3ed
by the sale of ready to wear collections and "erfume usin( the same brandin(.
,odern Westerners ha0e a wide number of choices a0ailable in the selection of their
clothes. What a "erson chooses to wear can reflect that "erson+s "ersonality or interests.
When "eo"le who ha0e cultural status start to wear new or different clothes, a fashion
trend may start. %eo"le who like or res"ect them become influenced by their "ersonal
style, and be(in wearin( clothes of similar stylin(. #ashions may 0ary considerably
within a society accordin( to a(e, social class, (eneration, occu"ation, and (eo(ra"hy as
well as o0er time. If, for e>am"le, an older "erson dresses accordin( to the fashion of
youn( "eo"le, he or she may look ridiculous in the eyes of both youn( and older "eo"le.
.he terms fashionista and fashion victim refer to someone who sla0ishly follows current
fashions.
.wo (irls in (Astrin(Abikinis on runway
!ne can re(ard the system of s"ortin( 0arious fashions as a fashion lan(ua(e
incor"oratin( 0arious fashion statements usin( a (rammar of fashion. (Com"are some of
the work of -oland 4arthes.
In recent years, 'sian fashion has become increasin(ly si(nificant in local and (lobal
markets. Countries such as China, <a"an, India, and %akistan ha0e traditionally had
lar(e te>tile industries, which ha0e often been drawn u"on by Western desi(ners, but
now 'sian clothin( styles are also (ainin( influence based on their own ideas.
P1OQ
Fashion industry
.he fashion industry is a "roduct of the modern a(e. %rior to the midA1Dth century, most
clothin( was custom made. It was handmade for indi0iduals, either as home "roduction
or on order from dressmakers and tailors. 4y the be(innin( of the ;Cth centuryTwith
the rise of new technolo(ies such as the sewin( machine, the rise of (lobal ca"italism
and the de0elo"ment of the factory system of "roduction, and the "roliferation of retail
outlets such as de"artment storesTclothin( had increasin(ly come to be massA"roduced
in standard si3es and sold at fi>ed "rices. 'lthou(h the fashion industry de0elo"ed first
in Euro"e and 'merica, today it is an international and hi(hly (lobali3ed industry, with
clothin( often desi(ned in one country, manufactured in another, and sold worldAwide.
#or e>am"le, an 'merican fashion com"any mi(ht source fabric in China and ha0e the
clothes manufactured in 9ietnam, finished in Italy, and shi""ed to a warehouse in the
7nited States for distribution to retail outlets internationally. .he fashion industry has
lon( been one of the lar(est em"loyers in the 7nited States, and it remains so in the ;1st
century. )owe0er, em"loyment declined considerably as "roduction increasin(ly mo0ed
o0erseas, es"ecially to China. 4ecause data on the fashion industry ty"ically are
re"orted for national economies and e>"ressed in terms of the industryJs many se"arate
sectors, a((re(ate fi(ures for world "roduction of te>tiles and clothin( are difficult to
obtain. )owe0er, by any measure, the industry accounts for a si(nificant share of world
economic out"ut.
.he fashion industry consists of four le0els& the "roduction of raw materials, "rinci"ally
fibers and te>tiles but also leather and furW the "roduction of fashion (oods by desi(ners,
manufacturers, contractors, and othersW retail salesW and 0arious forms of ad0ertisin( and
"romotion. .hese le0els consist of many se"arate but interde"endent sectors, all of
which are de0oted to the (oal of satisfyin( consumer demand for a""arel under
conditions that enable "artici"ants in the industry to o"erate at a "rofit.
Media
.he media "lays a 0ery si(nificant role when it comes to fashion. #or instance, an
im"ortant "art of fashion is fashion =ournalism. Editorial criti1ue, (uidelines and
commentary can be found in ma(a3ines, news"a"ers, on tele0ision, fashion websites,
social networks and in fashion blo(s. In the recent years, fashion blo((in( and 2ou.ube
0ideos ha0e become a ma=or outlet for s"readin( trends and fashion ti"s. .hrou(h these
media outlets, readers and 0iewers all o0er the world can learn about fashion, makin( it
0ery accessible.
P1IQ
't the be(innin( of the ;Cth century, fashion ma(a3ines be(an to include "hoto(ra"hs
of 0arious fashion desi(ns and became e0en more influential on "eo"le than in the "ast.
In cities throu(hout the world these ma(a3ines were (reatly sou(htAafter and had a
"rofound effect on "ublic clothin( taste. .alented illustrators drew e>1uisite fashion
"lates for the "ublications which co0ered the most recent de0elo"ments in fashion and
beauty. %erha"s the most famous of these ma(a3ines was La Gazette u !on "on which
was founded in 1D1; by /ucien 9o(el and re(ularly "ublished until 1D;G (with the
e>ce"tion of the war years.
#ogue, founded in the 7nited States in 1ID;, has been the lon(estAlastin( and most
successful of the hundreds of fashion ma(a3ines that ha0e come and (one. Increasin(
affluence after World War II and, most im"ortantly, the ad0ent of chea" color "rintin(
in the 1DRCs led to a hu(e boost in its sales, and hea0y co0era(e of fashion in
mainstream women+s ma(a3inesTfollowed by men+s ma(a3ines from the 1DDCs. !ne
such e>am"le of #ogue$s "o"ularity is the youn(er 0ersion, "een #ogue, which "ro0ides
clothin( and trends that are more tar(eted toward the 6fashionista on a bud(et6. )aute
couture desi(ners followed the trend by startin( the readyAtoAwear and "erfume lines,
hea0ily ad0ertised in the ma(a3ines, that now dwarf their ori(inal couture businesses.
.ele0ision co0era(e be(an in the 1DGCs with small fashion features. In the 1DRCs and
1DOCs, fashion se(ments on 0arious entertainment shows became more fre1uent, and by
the 1DICs, dedicated fashion shows such as #ashionAtele0ision started to a""ear.
#ashion.9 was the "ioneer in this undertakin( and has since (rown to become the
leader in both #ashion .ele0ision and 8ew ,edia Channels com"ared to other #ashion
,a(a3ines. :es"ite tele0ision and increasin( internet co0era(e, includin( fashion blo(s,
"ress co0era(e remains the most im"ortant form of "ublicity in the eyes of the fashion
industry.
)owe0er, o0er the "ast se0eral years, fashion websites ha0e de0elo"ed that mer(e
traditional editorial writin( with userA(enerated content. !nline ma(a3ines like
iFashion %etwor&, and 'unwa( )agazine, led by 8ole ,arin from *merica$s %e+t "op
)oel, ha0e be(un to dominate the market with di(ital co"ies for com"uters, i%hones,
and i%ads. E>am"le "latforms include '""le and 'ndroid for such a""lications.
' few days after the ;C1C #all #ashion Week in 8ew 2ork City came to a close, .he
8ew Islander+s #ashion Editor, @ene0ie0e .a>, critici3ed the fashion industry for
runnin( on a seasonal schedule of its own, lar(ely at the e>"ense of realAworld
consumers. 64ecause desi(ners release their fall collections in the s"rin( and their
s"rin( collections in the fall, fashion ma(a3ines such as #ogue always and only look
forward to the u"comin( season, "romotin( "arkas come Se"tember while issuin(
re0iews on shorts in <anuary6, she writes. 6Sa00y sho""ers, conse1uently, ha0e been
conditioned to be e>tremely, "erha"s im"ractically, farsi(hted with their buyin(.6
P1DQ
,thnic Fashion is defined as the #ashion of ,ulticultural (rou"s such as 'fricanA
'merican, )is"anics, 'sians, etc. E>am"les of ethnic desi(ners are #747, 4aby %hat,
%hat #arm, Sean <ohn, Etc. It is estimated that ,thnic Fashion has contributed o0er X;G
billion in re0enues, thus makin( them an im"ortant "art of the fashion industry.
Anthropological perspective
'nthro"olo(y, the study of culture and human societies, studies fashion by 1uestionin(
why a certain styles are deemed socially a""ro"riate and others not. ' certain way is
chosen and that becomes the fashion as defined by a certain "eo"le as a whole, so if a
"articular style has a meanin( in an already occurrin( set of beliefs that style will
become fashion.
P;CQ
'ccordin( to .ed %olhemus, and /ynn %rocter, fashion can be
described in terms of adornment of which there are two ty"es& fashion and antiAfashion.
.hrou(h the ca"itali3ation and commoditisation of clothin(, accessories, and shoes etc.
what constituted antiAfashion has now become "art of fashion as the lines between
fashion and antiAfashion are bein( blurred.
P;1Q
.he definition of fashion and antiAfashion is as thus. 'ntiAfashion is fi>ed and chan(es
little o0ertime. 'ntiAfashion is different de"endin( on which cultural or social (rou" one
is associated with or where one li0es but within that (rou" or locality the style chan(es
little and stays constant. #ashion is the e>act o""osite of antiAfashion. #ashion chan(es
0ery 1uickly and is not affiliated with one (rou" or an area of the world but is s"read
out throu(hout the world where0er "eo"le can communicate easily with each other. #or
e>am"le, the 1DG? $ueen Eli3abeth IIJs coronation (own is an e>am"le of antiAfashion
because it is traditional and does not chan(e o0er any "eriodW whereas, a (own from
fashion desi(ner :iorJs collection of 1DG? is fashion because it will chan(e e0ery
season as :ior comes u" with a new (own to re"lace the old one. In the :ior (own the
len(th, cut, fabric, and embroidery of the (own chan(es for season to season and does
not stay the same. 'ntiAfashion is concerned with maintainin( the status 1uo while
fashion is concerned with social mobility. .ime is e>"ressed in terms of continuity in
antiAfashion and as chan(e in fashion. #ashion has chan(in( modes of adornment while
antiAfashion has fi>ed modes of adornment. Indi(enous and "easant modes of
adornment are an e>am"le of antiAfashion. Chan(e in fashion is "art of the lar(er system
and is structured to be a deliberate chan(e in style.
P;;Q
In todayJs society "eo"le in rich countries are linked to "eo"le in "oor countries throu(h
the commoditisation and consum"tion of what can be called fashion. In one area of the
(lobe "eo"le are workin( lon( hours to "roduce thin(s that "eo"le in another "art of the
(lobe are an>ious to consume. .he chain of "roduction and consum"tion of 8ike shoes
is an e>am"le of this. .he 8ike shoes are "roduced in .aiwan and consumed in 8orth
'merica. In the "roduction end there is the nation buildin( a hard workin( ideolo(y that
leads "eo"le to "roduce and entices "eo"le to consume with a 0ast amount of (oods for
the offerin(. Commodities are no lon(er =ust utilitarian but are fashionable, be they
runnin( shoes or sweat suits.
P;?Q
.he chan(e from antiAfashion to fashion because of the influence of western ca"italist
ci0ili3ation can be best seen in eastern Indonesia. .he ikat te>tiles of the 8(ada area of
eastern Indonesia are chan(in( because of moderni3ation and de0elo"ment ha""enin( in
that area. .raditionally in the 8(ada area there was no idea similar to that of the
Western idea of fashion. 4ut antiAfashion in the form of traditional te>tiles and ways to
adorn oneself were widely "o"ular. .e>tiles in Indonesia ha0e "layed many roles for the
local "eo"le. .e>tiles defined a "ersonJs rank and status and indicated bein( "art of the
rulin( class. %eo"le e>"ressed their ethnic identity and social hierarchy throu(h te>tiles
in Indonesia. .he ikat te>tiles were also bartered for food by some "eo"le of Indonesia
thus bein( considered economic (oods. .e>tiles took on many different forms in the
social custom and reli(ion of the Indonesian "eo"le. .e>tiles were also a way to
communicate reli(ious messa(es as some motifs had s"iritual reli(ious meanin(s
accordin( to the local culture.
P;BQ
In eastern Indonesia there has been a transformation in the "roduction and use of the
traditional te>tiles as the "roduction, use and 0alue associated to te>tiles chan(es due to
moderni3ation. In the "ast women "roduced the te>tiles for either consumin( the te>tiles
by themsel0es and their families or to trade with others. .oday this has chan(ed as most
te>tiles are not bein( "roduced at home. 4ecause of colonialism in the "ast by the
:utch, western (oods are considered modern and 0alued more than traditional (oods.
4ecause of this western clothin( is 0alued more than the traditional saron(. Saron(s are
now used only for rituals and ceremonial occasionsW whereas, western clothes are worn
to church or 0isitin( a (o0ernment office. Ci0il ser0ants in the town are more likely to
make this distinction between western and traditional clothes more than "easants. 7"on
IndonesiaJs inde"endence from the :utch "eo"le increasin(ly started buyin( factory
made shirts and saron(s. In te>tile "roducin( areas the (rowin( of cotton and
"roduction of naturally coloured thread became obsolete. .raditional motifs on te>tiles
are no lon(er considered the "ro"erty of a certain social class or a(e (rou". Wi0es of
(o0ernment officials are "romotin( the use of traditional te>tiles in the form of western
(arments, such as skirts, 0ests, blouses etc. .his trend is also bein( followed by the
(eneral "o"ulace and whoe0er can afford to hire a tailor is doin( so to stitch traditional
ikat te>tiles into western clothes. .hus traditional te>tiles are now fashion (oods and no
lon(er confined to the black, white and brown colour "alette, comin( in array of
colours. )andba(s, wallets and other accessories are also bein( made from traditional
te>tiles, and traditional te>tiles are also bein( used in interior decorations. .hese items
are considered fashionable by ci0il ser0ants and their families. .here is also a boomin(
tourist trade in the 5u"an( city of eastern Indonesia where international as well as
domestic tourists want to (et their hands on traditionally "rinted western (oods.
P;GQ
.he use of traditional te>tiles for fashion is becomin( a bi( business in eastern
Indonesia, but these traditional te>tiles are losin( their ethnic identity markers and are
bein( used as an item of fashion.
P;RQ
<ust like the 8ike shoes that are a ca"italist form of
fashion for the modern consumer, the ikat te>tiles of Eastern IndonesiaJs 8(ada area,
which use to be a form of static antiAfashion, are becomin( a "art of fashion as they are
bein( incor"orated into forms of hi(hly 0alued western (oods.
Intellectual property
Student modelin( at the 6#ashion marketin(6 e0ent at the ,onterrey Institute of
.echnolo(y and )i(her Education, ,e>ico City.
Within the fashion industry, intellectual "ro"erty is not enforced as it is within the film
industry and music industry. -obert @lariston, intellectual "ro"erty e>"ert at Creati0e
4usiness )ouse ( or(ani3ation s"eciali3in( in fashion and trademarkin(, mentions in a
fashion seminar held in /' that 6Co"yri(ht law re(ardin( clothin( is a current hotA
button issue in the industry. We often ha0e to draw the line between desi(ners bein(
ins"ired by a desi(n and those outri(ht stealin( it in different "laces.6 .o 6take
ins"iration6 from others+ desi(ns contributes to the fashion industry+s ability to establish
clothin( trends. #or the "ast few years, W@S8 has been a dominant source of fashion
news and forecasts in steerin( fashion brands worldwide to be 6ins"ired6 by one
another. Enticin( consumers to buy clothin( by establishin( new trends is, some ha0e
ar(ued, a key com"onent of the industry+s success. Intellectual "ro"erty rules that
interfere with the "rocess of trendAmakin( would, in this 0iew, be counterA"roducti0e.
!n the other hand, it is often ar(ued that the blatant theft of new ideas, uni1ue desi(ns,
and desi(n details by lar(er com"anies is what often contributes to the failure of many
smaller or inde"endent desi(n com"anies.
Since fakes are distin(uishable by their inherent "oorer 1uality, there is still a demand
for lu>ury (oods. 'nd as only a trademark or lo(o can be co"yri(hted for clothin( and
accessories, many fashion brands make this one of the most 0isible as"ects of the
(arment or accessory. In handba(s, es"ecially, the desi(ner+s brand may be wo0en into
the fabric (or the linin( fabric from which the ba( is made T this makes the brand an
intrinsic element of the ba(.
In ;CCG, the World Intellectual %ro"erty !r(ani3ation (WI%! held a conference callin(
for stricter intellectual "ro"erty enforcement within the fashion industry to better "rotect
small and medium businesses and "romote com"etiti0eness within the te>tile and
clothin( industries.
P;OQP;IQ
Fashion for a cause
#ashion may be used to "romote a cause, for e>am"le, to "romote healthy beha0ior,
P;DQ

to raise money for a cancer cure,
P?CQ
to raise money for local charities,
P?1Q
for e>am"le the
<u0enile %rotecti0e 'ssociation,
P?;Q
or to raise donations for a children+s hos"ice.
P??Q
!ne u" and comin( fashion cause is trashion which is usin( trash to make clothes,
=ewelery, and other fashion items in order to "romote awareness of "ollution. .here are
any number of modern trashion artists such as ,arina :e4ris, 'nn Wi3er,
P?BQ
and 8ancy
<udd.
P?GQ
See also
Fashion portal
Wikimedia Commons has media related to& Fashion
#ashion accessory
#ashion desi(n
#ashion 8et
-aute couture
)istory of fashion desi(n
)istory of Western fashion
Inde> of fashion articles
/ist of fashion schools
/ist of fashion to"ics
-ed car"et fashion
-unway (fashion
Sustainable fashion
References
1. 5 #ashion (;C1;, ,arch ;D. Wwd. (n.d.. -etrie0ed from
htt"&**www.wwd.com*fashionAnews.
;. 5 7ndressin( Cinema& Clothin( and identity in the mo0ies A %a(e 1DR,
Stella 4ru33i A ;C1;
?. 5 #or a discussion of the use of the terms 6fashion6, 6dress6, 6clothin(6,
and 6costume6 by "rofessionals in 0arious disci"lines, see 9alerie Cummin(,
.nerstaning Fashion -istor(, 6Introduction6, Costume E #ashion %ress,
;CCB, IS48 CAIDRORA;G?AV
B. 5 4raudel, ?1;Y?
G. 5 .imothy 4rook& 6.he Confusions of %leasure& Commerce and Culture
in ,in( China6 (7ni0ersity of California %ress 1DDDW this has a whole section
on fashion.
R. 5 alA)assani, Woodcok and Saoud (;CCB, +,uslim )erita(e in !ur
World+, #S.C "ublisinh(, "". ?IYD
O. 5 .errasse, ). (1DGI +Islam d+Es"a(ne+ une rencontre de l+!rient et de
l+!ccident6, /ibrairie %lon, %aris, "".G;YG?.
I. 5 <osef W. ,eri E <ere /. 4acharach (;CCR. )eieval /slamic
0ivilization1 *23. .aylor E #rancis. ". 1R;. IS48 CB1GDRRD1B.
D. 5 /a0er, <ames& "he 0oncise -istor( of 0ostume an Fashion, 'brams,
1DOD, ". R;
1C. 5 #ernand 4raudel, 0ivilization an 0apitalism, 14th215th 0enturies,
#ol 11 "he Structures of ,ver(a( Life,6 p718, 9illiam 0ollins : Sons, Lonon
1;51
11. 5 4raudel, ?1OY;B
1;. 5 4raudel, ?1?Y1G
1?. 5 4raudel, ?1OY;1
1B. 5 .hornton, %eter. !aro<ue an 'ococo Sil&s=
1G. 5 <ames /a0er and #ernand 4raudel, o" cit
1R. 5 Claire 4. Shaeffer (;CC1. Couture sewin( techni1ues 6!ri(inatin( in
midA 1DthAcentury %aris with the desi(ns of an En(lishman named Charles
#rederick Worth, haute couture re"resents an archaic tradition of creatin(
(arments by hand with "ainstakin( care and "recision6. .aunton %ress, ;CC1
1O. 5 /emire, 4., E -iello, @ (;CCI. E'S. E WES.& .EV.I/ES '8:
#'S)I!8 I8 E'-/2 ,!:E-8 E7-!%E. <ournal of Social )istory, B1(B,
IIOAD1R.
1I. 5 #ashion (;C1;, ,arch ;D. Wwd. (n.d.. -etrie0ed from
htt"&**www.wwd.com*fashionAnews
1D. 5 .a>, @ene0ie0e. (;C1CAC;A;B #ashion+s !wn Sense of Season. .he
8ew Islander. -etrie0ed on ;C11ACRA;D.
;C. 5 ,olnar, 'ndrea 5 (1DDI. "ransformations in the .se of "raitional
"e+tiles of %gaa (9estern Flores, ,astern /nonesia)1 0ommercialization,
Fashion an ,thnicit(. Consumin( #ashion& 'dornin( the .ransnational 4ody&
4er(. ". B; E>tra |pages= or |at= (hel".
;1. 5 %olhemus and %rocter, .ed and /ynn (1DOI. Fashion an *nti>
fashion1 *n *nthropolog( of 0lothing an *ornment. .hames and )udson.
". 1;.
;;. 5 %olhemus and %rocter, .ed and /ynn (1DOI. Fashion an *nti>
fashion1 *n *nthropolog( of 0lothing an *ornment. .hames and )udson.
"". 1;Y1?.
;?. 5 Sko((ard, Ian (1DDI. "ransnational 0ommoit( Flows an the Global
?henomenon of the !ran. Consumin( #ashion& 'dornin( the .ransnational
4ody& 4er(. "". GOYRD.
;B. 5 ,olnar, 'ndrea 5 (1DDI. "ransformations in the .se of "raitional
4er(. "". ?DYGG.
;G. 5 ,olnar, 'ndrea 5 (1DDI. "ransformations in the .se of "raitional
4er(. ". B1 and BGYBI E>tra |pages= or |at= (hel".
;R. 5 ,olnar, 'ndrea 5 (1DDI. "ransformations in the .se of "raitional
4er(. ". G1 E>tra |pages= or |at= (hel".
;O. 5 I%#rontline.com& Intellectual %ro"erty in #ashion Industry, WI%!
"ress release, :ecember ;, ;CCG
;I. 5 I8S,E announcement& WI%!AItaly International Sym"osium, ?C
8o0ember Y ; :ecember ;CCG
;D. 5 6#ashion #or ' Cause6. "imes of /nia. ;*B*;C1?. -etrie0ed ;*1G*;C1?.
?C. 5 Woodman, 'nne (1*;R*;C1?. 6#ashion for a cause6. 0la(ton %ews
Star. -etrie0ed ;*1G*;C1?.
?1. 5 6#ashion for a cause6. 0hatham @ail( %ews. ;*O*;C1?. -etrie0ed
;*1G*;C1?.
?;. 5 luc, karie an(ell (1*1R*;C1?. 6Z#ashion for a CauseJ aids families and
kids6. %orthbroo& Star. -etrie0ed ;*1G*;C1?.
??. 5 6#ashion for a cause6. 0apital Gazette. no date (i0en. -etrie0ed
;*1G*;C1?.
?B. 5 6!ne manJs trash is another manJs fashion6. %!0 %ewsA *?. O*;*;CCI.
-etrie0ed ;*1G*;C1?.
?G. 5 Simon, Ste"hanie (1*1?*;CCD. 6+.rashion+ .rend& :um"ster Couture
@ets a 4oost at @reen Inau(ural 4all6. 9all Street Bournal. -etrie0ed
;*1G*;C1?.
Bibliography
4raudel, #ernand 0ivilization an 0apitalism, 14th215th 0enturies, #ol 11 "he
Structures of ,ver(a( Life,6 William Collins E Sons, /ondon 1DI1 IS48 CA
G;CACI11BAG
Further reading
4reward, Christo"her, "he culture of fashion1 a new histor( of fashionable
ress, ,anchester& ,anchester 7ni0ersity %ress, ;CC?, IS48 DOIACAO1DCAB1;GA
D
Cummin(, 9alerie& .nerstaning Fashion -istor(, Costume E #ashion %ress,
;CCB, IS48 CAIDRORA;G?AV
)ollander, 'nne, Seeing through clothes, 4erkeley& 7ni0ersity of California
%ress, 1DD?, IS48 DOIACAG;CACI;?1A1
)ollander, 'nne, Se+ an suits1 the evolution of moern ress, 8ew 2ork&
5no"f, 1DDB, IS48 DOIACARODAB?CDRAB
)ollander, 'nne, Feeing the e(e1 essa(s, 8ew 2ork& #arrar, Straus, and
@irou>, 1DDD, IS48 DOIACA?OBA;I;C1A1
)ollander, 'nne, Fabric of vision1 ress an raper( in painting, /ondon&
8ational @allery, ;CC;, IS48 DOIACA?CCACDB1DAC
5awamura, 2uniya, Fashion>olog(1 an introuction to Fashion Stuies, !>ford
and 8ew 2ork& 4er(, ;CCG, IS48 1AIGDO?AI1BA1
/i"o0etsky, @illes (translated by Catherine %orter, "he empire of fashion1
ressing moern emocrac(, Woodstock& %rinceton 7ni0ersity %ress, ;CC;,
IS48 DOIACARD1A1C;R;AO
,c:ermott, 5athleen, St(le for all1 wh( fashion, invente b( &ings, now belongs
to all of us (*n illustrate histor(), ;C1C, IS48 DOIACAGGOAG1D1OAC T ,any
handAdrawn color illustrations, e>tensi0e annotated biblio(ra"hy and readin(
(uide
%errot, %hili""e (translated by -ichard 4ien0enu, Fashioning the bourgeoisie1
a histor( of clothing in the nineteenth centur(, %rinceton 8<& %rinceton
7ni0ersity %ress, 1DDB, IS48 DOIACARD1ACCCI1AO
Steele, 9alerie, ?aris fashion1 a cultural histor(, (;. ed., re0. and u"dated,
!>ford& 4er(, 1DDI, IS48 DOIA1AIGDO?ADO?AC
Steele, 9alerie, Fift( (ears of fashion1 new loo& to now, 8ew )a0en& 2ale
7ni0ersity %ress, ;CCC, IS48 DOIACA?CCACIO?IA?
Steele, 9alerie, ,nc(clopeia of clothing an fashion, :etroit& .homson @ale,
;CCG
External links
6istory of &lothing and te,tiles
Laies ma&ing sil&, early 1;th century "aintin( by Em"eror )ui3on( of Son( (a remake
of an Ith century ori(inal by artist Hhan( Vuan, illustrates silk fabric manufacture in
China.
.he wearin( of clothin( is e>clusi0ely a human characteristic and is a feature of most
human societies. It is not known when humans be(an wearin( clothes. 'nthro"olo(ists
belie0e that animal skins and 0e(etation were ada"ted into co0erin(s as "rotection from
cold, heat and rain, es"ecially as humans mi(rated to new climatesW alternati0ely,
co0erin( may ha0e been in0ented first for other "ur"oses, such as ma(ic, decoration,
cult, or "resti(e, and later found to be "ractical as well.
Clothin( and te>tiles ha0e been im"ortant in human history and reflects the materials
a0ailable to a ci0ili3ation as well as the technolo(ies that it has mastered. .he social
si(nificance of the finished "roduct reflects their culture.
.e>tiles, defined as felt or s"un fibers made into yarn and subse1uently netted, loo"ed,
knit or wo0en to make fabrics, a""eared in the ,iddle East durin( the late stone a(e.
P1Q

#rom ancient times to the "resent day, methods of te>tile "roduction ha0e continually
e0ol0ed, and the choices of te>tiles a0ailable ha0e influenced how "eo"le carried their
"ossessions, clothed themsel0es, and decorated their surroundin(s.
P;Q
Sources a0ailable for the study of the history of &lothing and te,tiles include material
remains disco0ered 0ia archaeolo(yW re"resentation of te>tiles and their manufacture in
artW and documents concernin( the manufacture, ac1uisition, use, and trade of fabrics,
tools, and finished (arments. Scholarshi" of te>tile history, es"ecially its earlier sta(es,
is "art of material culture studies.
Contents
1 %rehistoric de0elo"ment
o 1.1 Early ado"tion of fibrous a""arel
o 1.; Initial manufacture of clothes
; 'ncient te>tiles and clothin(
o ;.1 'ncient 8ear East
o ;.; 'ncient India
o ;.? 'ncient E(y"t
o ;.B 'ncient China
o ;.G 'ncient <a"an
o ;.R .he te>tile trade in the ancient world
o ;.O Classical anti1uity
o ;.I Iron a(e Euro"e
? ,edie0al clothin( and te>tiles
o ?.1 4y3antium
o ?.; Early medie0al Euro"e
o ?.? )i(h middle a(es and the rise of fashion
B -enaissance and early modern "eriod
o B.1 -enaissance Euro"e
o B.; Early ,odern Euro"e
G Enli(htenment and the Colonial "eriod
R Industrial re0olution
O Contem"orary technolo(y
I See also
D E>ternal links
1C -eferences
11 4iblio(ra"hy
1; #urther readin(
rehistoric develop!ent
,odern humans are the only sur0i0ors of se0eral s"ecies of naked a"es who may ha0e
worn clothes, accordin( to :8' studies of clothin( lice.
P?Q
.his study su((ests that
clothin( may "ossibly ha0e been used RGC thousand years a(o Y much lon(er than
"re0iously thou(ht. #irst fabric uses, likely to be felt, are thou(ht to ha0e been used
about 1CC,CCC years a(o.
%arly ado'tion of fibrous a''arel
'nother (enetic analysis su((ests that the human body louse, which li0es in clothin(,
may only ha0e di0er(ed from the head louse some 1CO thousand years a(o, which
su""orts e0idence that humans be(an wearin( clothin( at around this time.
PBQ
.hese estimates "reAdate the first known human e>odus from 'frica, althou(h s"ecies
of -omo (other than -omo Sapiens who may ha0e worn clothes A and shared these
louse infestations A a""ear to ha0e mi(rated earlier.
-nitial (anufa&ture of &lothes
.he de0elo"ment of te>tile and clothin( manufacture in "rehistory has been the sub=ect
of a number of scholarly studies since the late ;Cth century.
PGQPRQ
.hese sources ha0e
hel"ed to "ro0ide a coherent history of these "rehistoric de0elo"ments. E0idence
su((ests that human bein(s may ha0e be(un wearin( clothin( as far back as 1CC,CCC to
GCC,CCC years a(o.
POQ
%ossible sewin( needles ha0e been dated to around BC,CCC years a(o.
PIQ
.he earliest
definite e>am"les of needles ori(inate from the Solutrean culture, which e>isted in
#rance from 1D,CCC 4C to 1G,CCC 4C. .he earliest dyed fla> fibers ha0e been found in a
"rehistoric ca0e in the -e"ublic of @eor(ia and date back to ?R,CCC 4%.
PDQP1CQ
.he earliest e0idence of wea0in( comes from im"ressions of te>tiles and basketry and
nets on little "ieces of hard clay, datin( from ;O,CCC years a(o and found in :olni
9estonice in the C3ech -e"ublic.
't a sli(htly later date (;G,CCC years the 9enus fi(urines were de"icted with clothin(.
P11Q
.hose from western Euro"e were adorned with basket hats or ca"s, belts worn at the
waist, and a stra" of cloth that wra""ed around the body ri(ht abo0e the breast. Eastern
Euro"ean fi(urines wore belts, hun( low on the hi"s and sometimes strin( skirts.
PRQ
'rchaeolo(ists ha0e disco0ered artifacts from the same "eriod that a""ear to ha0e been
used in the te>tile arts& (GCCC 4C net (au(es, s"indle needles and wea0in( sticks.
P1;Q
Ancient textiles and clothing
.he first actual te>tile, as o""osed to skins sewn to(ether, was "robably felt. Sur0i0in(
e>am"les of 8[lebindin(, another early te>tile method, date from RGCC 4C. !ur
knowled(e of ancient te>tiles and clothin( has e>"anded in the recent "ast thanks to
modern technolo(ical de0elo"ments.
P1?Q
!ur knowled(e of cultures 0aries (reatly with
the climatic conditions to which archeolo(ical de"osits are e>"osedW the ,iddle East
and the arid frin(es of China ha0e "ro0ided many 0ery early sam"les in (ood condition,
but the early de0elo"ment of te>tiles in the Indian subcontinent, subASaharan 'frica and
other moist "arts of the world remains unclear. In northern Eurasia "eat bo(s can also
"reser0e te>tiles 0ery well.
Early wo0en clothin( was often made of full loom widths dra"ed, tied, or "inned in
"lace.
"n&ient 7ear %ast
.he earliest known wo0en te>tiles of the 8ear East may be fabrics used to wra" the
dead, e>ca0ated at a 8eolithic site at \atalh]yUk in 'natolia, carboni3ed in a fire and
radiocarbon dated to c. RCCC 4C.
P1BQ
E0idence e>ists of fla> culti0ation from c. ICCC 4C
in the 8ear East, but the breedin( of shee" with a wooly fleece rather than hair occurs
much later, c. ?CCC 4C.
P1BQ
"n&ient -ndia
.he inhabitants of the Indus 9alley Ci0ili3ation used cotton for clothin( as early as the
Gth millennium 4C Y Bth millennium 4C.
P1GQ
'ccordin( to .he Columbia Encyclo"edia, Si>th Edition&
P1RQ
6Cotton has been s"un, wo0en, and dyed since "rehistoric times. It clothed the "eo"le of
ancient India, E(y"t, and China. )undreds of years before the Christian era cotton
te>tiles were wo0en in India with matchless skill, and their use s"read to the
,editerranean countries. In the 1st cent. 'rab traders brou(ht fine ,uslin and Calico to
Italy and S"ain. .he ,oors introduced the culti0ation of cotton into S"ain in the Dth
cent. #ustians and dimities were wo0en there and in the 1Bth cent. in 9enice and ,ilan,
at first with a linen war". /ittle cotton cloth was im"orted to En(land before the 1Gth
cent., althou(h small amounts were obtained chiefly for candlewicks. 4y the 1Oth cent.
the East India Com"any was brin(in( rare fabrics from India. 8ati0e 'mericans
skillfully s"un and wo0e cotton into fine (arments and dyed ta"estries. Cotton fabrics
found in %eru0ian tombs are said to belon( to a "reAInca culture. In color and te>ture the
ancient %eru0ian and ,e>ican te>tiles resemble those found in E(y"tian tombs.6
"n&ient %gy't
,ain article& Clothin( in the ancient world^E(y"tian clothin(
$ueen 8efertari in a sheer, "leated linen (arment, E(y"t, c. 1;DIY1;?G 4C
Wo0en silk te>tile from tombs at ,awan(dui, Chan(sha, )unan "ro0ince, China, from
the Western )an :ynasty, ;nd century 4C
E0idence e>ists for "roduction of linen cloth in 'ncient E(y"t in the 8eolithic "eriod, c.
GGCC 4C. Culti0ation of domesticated wild fla>, "robably an im"ort from the /e0ant, is
documented as early as c. RCCC 4C !ther bast fibers includin( rush, reed, "alm, and
"a"yrus were used alone or with linen to make ro"e and other te>tiles. E0idence for
wool "roduction in E(y"t is scanty at this "eriod.
P1OQ
S"innin( techni1ues included the dro" s"indle, handAtoAhand s"innin(, and rollin( on
the thi(hW yarn was also s"liced.
P1OQ
' hori3ontal (round loom was used "rior to the 8ew
5in(dom, when a 0ertical twoAbeam loom was introduced, "robably from 'sia.
/inen banda(es were used in the burial custom of mummification, and art de"icts
E(y"tian men wearin( linen kilts and women in narrow dresses with 0arious forms of
shirts and =ackets, often of sheer "leated fabric.
P1OQ
"n&ient 8hina
,ain articles& )istory of silk and )anfu
.he earliest e0idence of silk "roduction in China was found at the sites of 2an(shao
culture in Via, Shan>i, where a cocoon of bomby> mori, the domesticated silkworm, cut
in half by a shar" knife is dated to between GCCC and ?CCC 4C. #ra(ments of "rimiti0e
looms are also seen from the sites of )emudu culture in 2uyao, Hhe=ian(, dated to
about BCCC 4C. Scra"s of silk were found in a /ian(3hu culture site at $ianshanyan( in
)u3hou, Hhe=ian(, datin( back to ;OCC 4C.
P1IQP1DQ
!ther fra(ments ha0e been reco0ered
from royal tombs in the Shan( :ynasty (c. 1RCC Y c. 1CBR 4C.
P;CQ
7nder the Shan( :ynasty, )an Chinese clothin( or )anfu consisted of a (i, a narrowA
cuffed, kneeAlen(th tunic tied with a sash, and a narrow, ankleAlen(th skirt, called
shang, worn with a bi+i, a len(th of fabric that reached the knees. Clothin( of the elite
was made of silk in 0i0id "rimary colours.
"n&ient .a'an
.he earliest e0idence of wea0in( in <a"an is associated with the <_mon "eriod. .his
culture is defined by "ottery decorated with cord "atterns. In a shell mound in the
,iya(i %refecture, datin( back about G,GCC, some cloth fra(ments were disco0ered
made from bark fibers.
P;1Q
)em" fibers were also disco0ered in the .orihama shell
midden, #ukui %refecture, datin( back to the <_mon "eriod, su((estin( that these "lants
could also ha0e been used for clothin(. Some "ottery "attern im"rints de"ict also fine
mat desi(ns, "ro0in( their wea0in( techni1ues. Since bone needles were also found, it is
assumed that they wore dresses that were sewn to(ether.
P;;Q
3he te,tile trade in the an&ient world
,ain article& Silk -oad
.he e>chan(e of lu>ury te>tiles was "redominant on the Silk -oad, a series of ancient
trade and cultural transmission routes that were central to cultural interaction throu(h
re(ions of the 'sian continent connectin( East and West by linkin( traders, merchants,
"il(rims, monks, soldiers, nomads and urban dwellers from China to the ,editerranean
Sea durin( 0arious "eriods of time. .he trade route was initiated around 11B 4C by the
)an :ynasty,
P;?Q
althou(h earlier trade across the continents had already e>isted.
@eo(ra"hically, the Silk -oad or Silk -oute is an interconnected series of ancient trade
routes between Chan(+an (today+s Vi+an in China, with 'sia ,inor and the
,editerranean e>tendin( o0er I,CCC km (G,CCC mi on land and sea. .rade on the Silk
-oad was a si(nificant factor in the de0elo"ment of the (reat ci0ili3ations of China,
E(y"t, ,eso"otamia, %ersia, the Indian subcontinent, and -ome, and hel"ed to lay the
foundations for the modern world.
8lassi&al anti9uity
,ain articles& Clothin( in the ancient world, Clothin( in ancient @reece, and Clothin(
in ancient -ome
@reek chiton (left and chiton worn under himation
:ress in classical anti1uity fa0ored wide, unsewn len(ths of fabric, "inned and dra"ed
to the body in 0arious ways.
'ncient @reek clothin( consisted of len(ths of wool or linen, (enerally rectan(ular and
secured at the shoulders with ornamented "ins called fibulae and belted with a sash.
.y"ical (arments were the "e"los, a loose robe worn by womenW the chlamys, a cloak
worn by menW and the chiton, a tunic worn by both men and women. ,enJs chitons
hun( to the knees, whereas womenJs chitons fell to their ankles. ' lon( cloak called a
himation was worn o0er the "e"los or chlamys.
.he to(a of ancient -ome was also an unsewn len(th of wool cloth, worn by male
citi3ens dra"ed around the body in 0arious fashions, o0er a sim"le tunic. Early tunics
were two sim"le rectan(les =oined at the shoulders and sidesW later tunics had sewn
slee0es. Women wore the dra"ed stola or an ankleAlen(th tunic, with a shawlAlike "alla
as an outer (arment. Wool was the "referred fabric, althou(h linen, hem", and small
amounts of e>"ensi0e im"orted silk and cotton were also worn.
-ron age %uro'e
.he Iron '(e is broadly identified as stretchin( from the end of the 4ron3e '(e around
1;CC 4C to GCC ': and the be(innin( of the ,edie0al "eriod. 4odies and clothin(
ha0e been found from this "eriod, "reser0ed by the anaerobic and acidic conditions of
"eat bo(s in northwestern Euro"e. ' :anish recreation of clothin( found with such
bodies indicates wo0en wool dresses, tunics and skirts.
P;BQ
.hese were lar(ely unsha"ed
and held in "lace with leather belts and metal brooches or "ins. @arments were not
always "lain, but incor"orated decoration with contrastin( colours, "articularly at the
ends and ed(es of the (arment. ,en wore breeches, "ossibly with lower le(s wra""ed
for "rotection, althou(h 4oucher states that lon( trousers ha0e also been found.
P;GQ

Warmth came from woollen shawls and ca"es of animal skin, "robably worn with the
fur facin( inwards for added comfort. Ca"s were worn, also made from skins, and there
was an em"hasis on hair arran(ements, from braids to elaborate Suebian knots.
P;RQ
Soft
laced shoes made from leather "rotected the foot.
Medieval clothing and textiles
.he history of ,edie0al Euro"ean clothin( and te>tiles has ins"ired a (ood deal of
scholarly interest in the ;1st century. Elisabeth Crowfoot, #rances %ritchard, and 5ay
Staniland authored "e+tiles an 0lothing1 )eieval Fins from ,+cavations in Lonon,
c=1140>c=1C40 (4oydell %ress, ;CC1. .he to"ic is also the sub=ect of an annual series
)eieval 0lothing an "e+tiles (4oydell %ress edited by -obin 8etherton and
%rofessor @ale -. !wenACrocker of 'n(loASa>on Culture at the 7ni0ersity of
,anchester.
:y1antiu(
,ain articles& 4y3antine dress and 4y3antine silk
.he 4y3antines made and e>"orted 0ery richly "atterned cloth, wo0en and embroidered
for the u""er classes, and resistAdyed and "rinted for the lower.
P;OQ
4y <ustinian+s time
the -oman to(a had been re"laced by the tunica, or lon( chiton, for both se>es, o0er
which the u""er classes wore 0arious other (arments, like a almatica (dalmatic, a
hea0ier and shorter ty"e of tunicaW short and lon( cloaks were fastened on the ri(ht
shoulder.
/e((in(s and hose were often worn, but are not "rominent in de"ictions of the wealthyW
they were associated with barbarians, whether Euro"ean or %ersian.
P;IQ
%arly (edie*al %uro'e
Ed(ar I of En(land in short tunic, hose, and cloak, DRR
,ain articles& Early medie0al Euro"ean dress, 'n(loASa>on dress, and En(lish
,edie0al fashion
Euro"ean dress chan(ed (radually in the years BCC to 11CC. %eo"le in many countries
dressed differently de"endin( on whether they identified with the old -omanised
"o"ulation, or the new in0adin( "o"ulations such as #ranks, 'n(loASa>ons, and
9isi(oths. ,en of the in0adin( "eo"les (enerally wore short tunics, with belts, and
0isible trousers, hose or le((in(s. .he -omanised "o"ulations, and the Church,
remained faithful to the lon(er tunics of -oman formal costume.
P;DQ
.he elite im"orted silk cloth from the 4y3antine, and later ,uslim worlds, and also
"robably cotton. .hey also could afford bleached linen and dyed and sim"ly "atterned
wool wo0en in Euro"e itself. 4ut embroidered decoration was "robably 0ery
wides"read, thou(h not usually detectable in art. /ower classes wore local or homes"un
wool, often undyed, trimmed with bands of decoration, 0ariously embroidery, tabletA
wo0en bands, or colorful borders wo0en into the fabric in the loom.
P?CQP?1Q
6igh (iddle ages and the rise of fashion
,ain articles& 11CCY1;CC in fashion, 1;CCY1?CC in fashion, and 1?CCY1BCC in fashion
1Bth century Italian silk damasks
Clothin( in 1;th and 1?th century Euro"e remained 0ery sim"le for both men and
women, and 1uite uniform across the subcontinent. .he traditional combination of short
tunic with hose for workin(Aclass men and lon( tunic with o0er(own for women and
u""er class men remained the norm. ,ost clothin(, es"ecially outside the wealthier
classes, remained little chan(ed from three or four centuries earlier.
P?;Q
.he 1?th century saw (reat "ro(ress in the dyein( and workin( of wool, which was by
far the most im"ortant material for outer wear. /inen was increasin(ly used for clothin(
that was directly in contact with the skin. 7nlike wool, linen could be laundered and
bleached in the sun. Cotton, im"orted raw from E(y"t and elsewhere, was used for
"addin( and 1uiltin(, and cloths such as buckram and fustian.
Crusaders returnin( from the /e0ant brou(ht knowled(e of its fine te>tiles, includin(
li(ht silks, to Western Euro"e. In 8orthern Euro"e, silk was an im"orted and 0ery
e>"ensi0e lu>ury.
P??Q
.he wellAoff could afford wo0en brocades from Italy or e0en
further afield. #ashionable Italian silks of this "eriod featured re"eatin( "atterns of
roundels and animals, deri0in( from !ttoman silkAwea0in( centres in 4ursa, and
ultimately from 2uan :ynasty China 0ia the Silk -oad.
P?BQ
Cultural and costume historians a(ree that the midA1Bth century marks the emer(ence of
reco(ni3able 6fashion6 in Euro"e.
P?GQP?RQ
#rom this century onwards Western fashion
chan(es at a "ace 1uite unknown to other ci0ili3ations, whether ancient or
contem"orary.
P?OQ
In most other cultures only ma=or "olitical chan(es, such as the
,uslim con1uest of India, "roduced radical chan(es in clothin(, and in China, <a"an,
and the !ttoman Em"ire fashion chan(ed only sli(htly o0er "eriods of se0eral centuries.
P?IQ
In this "eriod the dra"ed (arments and strai(ht seams of "re0ious centuries were
re"laced by cur0ed seams and the be(innin(s of tailorin(, which allowed clothin( to
more closely fit the human form, as did the use of lacin( and buttons.
P?DQ
' fashion for
mi>parti or parti>coloure (arments made of two contrastin( fabrics, one on each side,
arose for men in midAcentury,
PBCQ
and was es"ecially "o"ular at the En(lish court.
Sometimes =ust the hose would be different colours on each le(.
Renaissance and early !odern period
Renaissan&e %uro'e
4old floral "atterned silks, 1Gth century.
,ain article& 1BCCY1GCC in fashion
Wool remained the most "o"ular fabric for all classes, followed by linen and hem".
P?BQ

Wool fabrics were a0ailable in a wide ran(e of 1ualities, from rou(h undyed cloth to
fine, dense broadcloth with a 0el0ety na"W hi(hA0alue broadcloth was a backbone of the
En(lish economy and was e>"orted throu(hout Euro"e.
PB1Q
Wool fabrics were dyed in
rich colours, notably reds, (reens, (olds, and blues.
P?BQ
SilkAwea0in( was well established around the ,editerranean by the be(innin( of the
1Gth century, and fi(ured silks, often silk 0el0ets with sil0erA(ilt wefts, are increasin(ly
seen in Italian dress and in the dress of the wealthy throu(hout Euro"e. Stately floral
desi(ns featurin( a "ome(ranate or artichoke motif had reached Euro"e from China in
the "re0ious century and became a dominant desi(n in the !ttoman silkA"roducin( cities
of Istanbul and 4ursa, and s"read to silk wea0ers in #lorence, @enoa, 9enice, 9alencia
and Se0ille in this "eriod.
P?BQPB;Q
's "ros"erity (rew in the 1Gth century, the urban middle classes, includin( skilled
workers, be(an to wear more com"le> clothes that followed, at a distance, the fashions
set by the elites. 8ational 0ariations in clothin( increased o0er the century.
PB?Q
%arly /odern %uro'e
,ain articles& 1GCCY1GGC in fashion, 1GGCY1RCC in fashion, 1RCCY1RGC in fashion, and
1RGCY1OCC in fashion
Slashin( at its hei(ht& )enry I9, :uke of Sa>ony, c. 1G1B.
S"anish fashion with elaborate reticella ruff, 1RCD
4y the first half of the 1Rth century, the clothin( of the /ow Countries, @erman states,
and Scandina0ia had de0elo"ed in a different direction than that of En(land, #rance, and
Italy, althou(h all absorbed the soberin( and formal influence of S"anish dress after the
midA1G;Cs.
PBBQ
Elaborate slashin( was "o"ular, es"ecially in @ermany. 4lack was increasin(ly worn
for the most formal occasions. 4obbin lace arose from "assementerie in the midA1Rth
century, "robably in #landers.
PBGQ
.his century also saw the rise of the ruff, which (rew
from a mere ruffle at the neckline of the shirt or chemise to immense cartwheel sha"es.
't their most e>tra0a(ant, ruffs re1uired wire su""orts and were made of fine Italian
reticella, a cutwork linen lace.
4y the turn of the 1Oth century, a shar" distinction could be seen between the sober
fashions fa0ored by %rotestants in En(land and the 8etherlands, which still showed
hea0y S"anish influence, and the li(ht, re0ealin( fashions of the #rench and Italian
courts.
.he (reat flowerin( of needlelace occurred in this "eriod. @eometric reticella deri0in(
from cutwork was elaborated into true needlelace or punto in aria (called in En(land
6"oint lace6, which reflected the scrollin( floral desi(ns "o"ular for embroidery.
/acemakin( centers were established in #rance to reduce the outflow of cash to Italy.
PBGQ
PBRQPBOQ
'ccordin( to :r. Wolf :. #uhri(, 64y the second half of the 1Oth century, Silesia had
become an im"ortant economic "illar of the )absbur( monarchy, lar(ely on the stren(th
of its te>tile industry.6
PBIQ
Enlighten!ent and the Colonial period
,ain articles& 1OCCY1OGC in fashion and 1OGCY1ODG in fashion
:urin( the ei(hteenth century, distinction was made between full ress worn at Court
and for formal occasions, and unress or e0eryday, daytime clothes. 's the decades
"ro(ressed, fewer and fewer occasions called for full dress which had all but
disa""eared by the end of the century. #ull dress followed the styles of the #rench court,
where rich silks and elaborate embroidery rei(ned. ,en continued to wear the coat,
waistcoat and breeches for both full dress and undressW these were now sometimes made
of the same fabric and trim, si(nallin( the birth of the threeA"iece suit.
Women+s silhouettes featured small, domed hoo"s in the 1O?Cs and early 1OBCs, which
were dis"laced for formal court wear by side hoo"s or "anniers which later widened to
as much as three feet to either side at the court of ,arie 'ntoinette. #ashion reached
hei(hts of fantasy and abundant ornamentation, before new enthusiasms for outdoor
s"orts and country "ursuits and a lon(Asimmerin( mo0ement toward sim"licity and
democrati3ation of dress under the influence of <eanA<ac1ues -ousseau and the
'merican -e0olution led to an entirely new mode and the trium"h of 4ritish woollen
tailorin( followin( the #rench -e0olution.
#or women+s dresses, Indian cottons, es"ecially "rinted chint3es, were im"orted to
Euro"e in lar(e numbers, and towards the end of the "eriod sim"le white muslin (owns
were in fashion.
Industrial revolution
.his section re1uires e>"ansion. (@ecember 2008)
,ain article& .e>tile manufacture durin( the Industrial -e0olution
:urin( the industrial re0olution, fabric "roduction was mechanised with machines
"owered by waterwheels and steamAen(ines. %roduction shifted from small cotta(e
based "roduction to mass "roduction based on assembly line or(anisation. Clothin(
"roduction, on the other hand, continued to be made by hand.
Sewin( machines emer(ed in the 1Dth century
PBDQ
streamlinin( clothin( "roduction.
In the early ;Cth century workers in the clothin( and te>tile industries became
unionised.
PGCQ
/ater in the ;Cth century, the industry had e>"anded to such a de(ree that
such educational institutions as 7C :a0is established a :i0ision of .e>tiles and
Clothin(,
PG1Q
.he 7ni0ersity of 8ebraskaA/incoln also created a :e"artment of .e>tiles,
Clothin( and :esi(n that offers a ,asters of 'rts in .e>tile )istory,
PG;Q
and Iowa State
7ni0ersity established a :e"artment of .e>tiles and Clothin( that features a )istory of
costume collection, 1IRGY1DBI.
PG?Q
E0en hi(h school libraries ha0e collections on the
history of clothin( and te>tiles.
PGBQ
'lon(side these de0elo"ments were chan(es in the ty"es and style of clothin( "roduced.
:urin( the 1DRCs, had a ma=or influence on subse1uent de0elo"ments in the industry.
PGGQ
.e>tiles were not only made in factories. 4efore this that they were made in local and
national markets. :ramatic chan(e in trans"ortation throu(hout the nation is one source
that encoura(ed the use of factories. 8ew ad0ances such as steamboats, canals, and
railroads lowered shi""in( costs which caused "eo"le to buy chea" (oods that were
"roduced in other "laces instead of more e>"ensi0e (oods that were "roduced locally.
4etween 1I1C and 1IBC the de0elo"ment of a national market "rom"ted manufacturin(
which tri"led the out"utJs worth. .his increase in "roduction created a chan(e in
industrial methods, such as the use of factories instead of hand made wo0en materials
that families usually made.
PGRQ
.he 0ast ma=ority of the "eo"le who worked in the factories were women. Women went
to work in te>tile factories for a number of reasons. Some women left home to li0e on
their own because of crowdin( at homeW or to sa0e for future marria(e "ortions. .he
work enabled them to see more of the world, to earn somethin( in antici"ation of
marria(e, and to ease the crowdin( within the home. .hey also did it to make money for
family back home. .he money they sent home was to hel" out with the trouble some of
the farmers were ha0in(. .hey also worked in the millhouses because they could (ain a
sense of inde"endence and (rowth as a "ersonal (oal.
PGOQ
Conte!porary technology
Synthetic fibers such as nylon were in0ented durin( the ;Cth century and synthetic
fibers ha0e been added to many natural fibers.
See also
.imeline of clothin( and te>tiles technolo(y
)istory of Western fashion
)istory of fashion desi(n
)istory of silk
)istory of hide materials
External links
.e>tile "roduction in Euro"e, 1RCCY1ICC , at the ,etro"olitan ,useum of 'rt
S"indle, /oom, and 8eedle Y )istory of the .e>tile Industry
'ustralian ,useum of Clothin( 'nd .e>tiles Inc. Y Why ha0e a ,useum of
Clothin( and .e>tiles?
/inkin( 'nthro"olo(y and )istory in .e>tiles and Clothin( -esearch& .he
Ethnohistorical ,ethod by -achel 5. %annabecker Y from Clothin( and .e>tiles
-esearch <ournal, 9ol. I, 8o. ?, 1BY1I (1DDC
.he draftin( history of the '(reement on .e>tiles and Clothin(
'merican Women+s )istory& ' -esearch @uide Clothin( and #ashion
)istorical Clothin(*#abric
'll Sewn 7"& ,illinery, :ressmakin(, Clothin( and Costume
@allery of En(lish ,edie0al Clothin( from 1DCR by :ion Clayton Calthro"
' Short )istory of <a"anese Cotton .e>tiles
References
1. 5 Creati0ity In .he .e>tile Industries& ' Story #rom %reA)istory .o .he
;1st century. .e>tileinstitutebooks.com. -etrie0ed on 1 <anuary ;C1;.
;. 5 <enkins, "". 1YR.
?. 5 -eed, :a0idW /i(ht, <EW 'llen, <,W 5irchman, << (;CCO. 6%air of lice
lost or "arasites re(ained& .he e0olutionary history of 'nthro"oid "rimate lice6.
!)0 biolog( 5& O. doi&1C.11IR*1OB1AOCCOAGAO. %,C 1I;IO1G.
%,I: 1O?B?OBD.
B. 5 Stonekin(, ,ark. 6Erratum& ,olecular E0olution of ?eiculus
humanus and the !ri(in of Clothin(6 . -etrie0ed ;B ,arch ;CCI.
G. 5 4arber, Eli3abeth Wayland (1DD; ?rehistoric "e+tiles1 "he
@evelopment of 0loth in the %eolithic an !ronze *ges with Special 'eference
to the *egean, %rinceton 7ni0ersity %ress IS48 CARD1ACC;;BAV
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b
4arber, Eli3abeth Wayland (1DDG 9omen$s 9or&1 "he First 20,000
Dears1 9omen, 0loth, an Societ( in ,arl( "imes, W. W. 8orton E Com"any
IS48 CA?D?A?1?BIAB
O. 5 .he )istory of Clothin( Y )ow :id S"ecific Items of Clothin(
:e0elo"? by ,ary 4ellis
I. 5 .ra0is, <ohn. 6.he 8aked .ruth? /ice hint at a recent ori(in of
clothin(6. 'rchi0ed from the ori(inal on B ,arch ;CCO. -etrie0ed 1G '"ril
;CCO.
D. 5 4alter, ,. (;CCD. 6Clothes ,ake the ()u ,an6. Science 325 (GDBR&
1?;D. doi&1C.11;R*science.?;Ga1?;Da. %,I: 1DOBG1;R.
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,atske0ich, HW ,esh0eliani, . (;CCD. 6?C,CCCAyearAold wild fla> fibers6.
Science 325 (GDBR& 1?GD. doi&1C.11;R*science.11OGBCB. %,I: 1DOBG1BB.
Su""ortin( ,aterial
11. 5 Early )istory of .e>tiles E Clothin(. )ollin(s.mmu.ac.uk. -etrie0ed
on 1 <anuary ;C1;.
1;. 5 Chan(, @loria. 6Stone '(e clothin( more ad0anced than thou(ht6.
-etrie0ed 1G '"ril ;CCO.
1?. 5 #orensic %hoto(ra"hy 4rin(s Color 4ack .o 'ncient .e>tiles.
-esearchnews.osu.edu. -etrie0ed on 1 <anuary ;C1;.
1B. `
a

b
<enkins, "". ?DYBO
1G. 5 Stein, ". BO
1R. 5 .he Columbia Encyclo"edia, Si>th Edition. cotton.
1O. `
a

b

c
<enkins, "". ?CY?D
1I. 5 .an(, Chi and ,iao, /ian(yun, 6Hhon((uo Sichoushi6 (6)istory of
Silks in China6. ,nc(clopeia of 0hina, 1st ed.
1D. 5 6.e>tile E>hibition& Introduction6. 'sian art. -etrie0ed ; 'u(ust ;CCO.
;C. 5 ;2ren&h< Charles ,eyer, @es mEriers ans le Farin u manarin,
)istoria, no. RBI, :ecember ;CCC.
;1. 5 /iddell, <ill, "he stor( of the 3imono, E. %. :utton 8ew Hork, 1DID,
IS48 CAG;GA;BGOBAV
;;. 5 Hamanaka, 8orio, "he !oo& of 3imono, 5odansha International, 1DIR,
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;?. 5 Elisseeff, 9adime, "he Sil& 'oas1 -ighwa(s of 0ulture an
0ommerce, 78ESC! %ublishin( * 4er(hahn 4ooks, ;CC1, IS48 DOIAD;A?A
1C?RG;A1
;B. 5 .he .ollund ,an Y Clothes and #ashion. .ollundman.dk. -etrie0ed on
1 <anuary ;C1;.
;G. 5 4oucher, ". ;I
;R. 5 'rchaeolo(y ,a(a3ine Y 4odies of the 4o(s Y Clothin( and )air
Styles. 'rchaeolo(y.or(. -etrie0ed on 1 <anuary ;C1;.
;O. 5 %ayne et al. (1DD;
;I. 5 %ayne et al. (1DD; ". 1;I.
;D. 5 %i"onnier E ,ane, "". 11BY11G
?C. 5 !wenACrocker, @ale -., @ress in *nglo>Sa+on ,nglan, re0ised
edition, 4oydell %ress, ;CCB, IS48 1AIB?I?ACI1AO "". ?CDY?1G
?1. 5 bster([rd, Else, 9oven into the ,arth1 "e+tiles from %orse Greenlan,
'arhus 7ni0ersity %ress, ;CCB, IS48 IOAO;IIAD?GAO
?;. 5 %i"onnier E ,ane, ". ?D
??. 5 :onald 5in( in <onathan 'le>ander E %aul 4inski (eds, *ge of
0hivalr(, *rt in ?lantagenet ,nglan, 120021C00, ". 1GO, -oyal
'cademy*Weidenfeld E 8icholson, /ondon 1DIO IS48 CA;DOAOD1I;AR
?B. `
a

b

c

d
5oslin, :SsirSe, 69alueA'dded Stuffs and Shifts in ,eanin(& 'n
!0er0iew and CaseAStudy of ,edie0al .e>tile %aradi(ms6, in 5oslin and
Snyder, ,ncountering )eieval "e+tiles an @ress, "". ;?OY;BC IS48 CA?1;A
;D?OOA1
?G. 5 /a0er, <ames& "he 0oncise -istor( of 0ostume an Fashion, 'brams,
1DOD, ". R; IS48 CARIBA1?G;;A1
?R. 5 4raudel, ". ?1O
?O. 5 6.he birth of fashion6, in 4oucher, ". 1D;
?I. 5 4raudel, "". ?1;, ?1?, ?;?
?D. 5 Sin(man, <effrey /. and Will ,c/ean& @ail( Life in 0haucer$s
,nglan, ". D?. @reenwood %ress, /ondon, ;CCG IS48 CA?1?A;D?OGAD
BC. 5 4lack, <. 'nderson, and ,ad(e @arland& * -istor( of Fashion,
,orrow, 1DOG, IS48 CARIIAC;ID?AB, ". 1;;
B1. 5 Crowfoot, Eli3abeth, #rances %richard and 5ay Staniland, "e+tiles an
0lothing c= 1140 >c= 1C40, ,useum of /ondon, 1DD;, IS48 CA11A;DCBBGAD
B;. 5 /en(th of 9el0et, /ate 1Gth century. the ,etro"olitan ,useum of 'rt.
8ew 2ork
B?. 5 4oucher
BB. 5 4oucher, "". ;1D, ;BB
BG. `
a

b
,ontu"et, <anine, and @hislaine Schoeller& Lace1 "he ,legant 9eb,
IS48 CAI1CDA?GG?AI
BR. 5 4erry, -obin /.& 6-eticella& a walk throu(h the be(innin(s of /ace6
(;CCB (%:#
BO. 5 5liot, <ules and 5aethe& "he %eele>)ae Lace of 'eticella, /acis
%ublications, 4erkeley, C', 1DDB. IS48 CAD1RIDRAGOAD.
BI. 5 :r. Wolf :. #uhri(, 6@erman Silesia& :oomed to E>tinction,6
-eritage1 For German>*mericans who want to be informe (,ay ;CCO& 1.
BD. 5 S"indel, /oom, and 8eedle Y )istory of the .e>tile Industry
GC. 5 'mal(amated Clothin( and .e>tile Workers 7nion.
Womenshistory.about.com (;C1CACRA1D. -etrie0ed on 1 <anuary ;C1;.
G1. 5 7C :a0is :e"artment of .e>tiles and Clothin( )istory
G;. 5 7ni0ersity of 8ebraskaA/incoln :e"artment of .e>tiles, Clothin( and
:esi(n ,.'. in .e>tile )istory. (%:# . -etrie0ed on 1 <anuary ;C1;.
G?. 5 Iowa State 7ni0ersity Colle(e of #amily and Consumer Sciences.
:e"artment of .e>tiles and Clothin( )istory of costume collection, 1IRGY1DBI,
n. d.
GB. 5 7nionAEndicott )i(h School /ibrary Clothin( and .e>tiles Y #ashion
)istory
GG. 5 )istory of 1DRCs #ashion and .e>tiles. 9am.ac.uk. -etrie0ed on 1
<anuary ;C1;.
GR. 5 W. <. -orabau(h (1O Se"tember 1DI1. "he *lcoholic 'epublic1 *n
*merican "raition. !>ford 7ni0ersity %ress. "". 1;DY1?1. IS48 DOIACA1DA
GC;DDCA1. -etrie0ed 1 <anuary ;C1;.
GO. 5 .homas :ublin ('u(ust 1DDG. "ransforming women$s wor&1 %ew
,nglan lives in the inustrial revolution. Cornell 7ni0ersity %ress. "". I;Y.
IS48 DOIACAIC1BAICDCAB. -etrie0ed 1 <anuary ;C1;.
Bibliography
4oucher, #rancois. ;C,CCC years of fashion& .he history of costume and "ersonal
adornment. 8ew 2ork& )arry 8. 'brams, 1DIO IS48 CAI1CDA1RD?A;
<enkins, :a0id, ed.& "he 0ambrige -istor( of 9estern "e+tiles, Cambrid(e,
75& Cambrid(e 7ni0ersity %ress, ;CC?, IS48 CAG;1A?B1COAI
%ayne, 4lancheW Winakor, @eitelW #arrellA4eck <ane (1DD; "he -istor( of
0ostume, from the *ncient )esopotamia to the "wentieth 0entur(, ;nd Edn,
)ar"erCollins IS48 CACRACBO1B1AO
%i"onnier, #rancoise, and %errine ,aneW @ress in the )ile *gesW 2ale 7%W
1DDOW IS48 CA?CCACRDCRAG
Further reading
'shelford, <ane& "he *rt of @ress1 0lothing an Societ( 140021;1C, 'brams,
1DDR. IS48 CAI1CDAR?1OAG
'rnold, <anet & ?atterns of Fashion1 the cut an construction of clothes for men
an women 14G021G20, ,acmillan 1DIG. -e0ised edition 1DIR. (IS48 CA
IDRORACI?AD
'rnold, <anet& Hueen ,lizabeth$s 9arrobe .nloc&$, W S ,aney and Son /td,
/eeds 1DII. IS48 CADC1;IRA;CAR
4raudel, #ernand, 0ivilization an 0apitalism, 14th215th centuries, #ol 11 "he
Structures of ,ver(a( Life, William Collins E Sons, /ondon 1DI1
:arwin, @eor(e ). , 6:e0elo"ment in :ress6, )acmillan$s magazine, 0ol. ;R,
,ay to !ct. 1IO;, "a(es B1CYB1R
#a0ier, <ean, Gol an Spices1 "he 'ise of 0ommerce in the )ile *ges,
/ondon, )olmes and ,eier, 1DDI, IS48 CAIB1DA1;?;AO
@ordenker, Emilie E.S.& #an @(c& an the 'epresentation of @ress in
Seventeenth>0entur( ?ortraiture, 4re"ols, ;CC1, IS48 ;AGC?AGCIICAB
5dhler, Carl& * -istor( of 0ostume, :o0er %ublications re"rint, 1DR?, from
1D;I )arra" translation from the @erman, IS48 CABIRA;1C?CAI
/efSbure, Ernest& ,mbroier( an Lace1 "heir )anufacture an -istor( from
the 'emotest *nti<uit( to the ?resent @a(, /ondon, ). @re0el and Co., 1III, ed.
by 'lan S. Cole, at !nline 4ooks , retrie0ed 1B !ctober ;CCO
8etherton, -obin, and @ale -. !wenACrocker, editors, )eieval 0lothing an
"e+tiles, 9olume 1, Woodbrid(e, Suffolk, 75, and -ochester, 82, the 4oydell
%ress, ;CCG, IS48 1AIB?I?A1;?AR
"e+tiles, 9olume ;, Woodbrid(e, Suffolk, 75, and -ochester, 82, the 4oydell
%ress, ;CCR, IS48 1AIB?I?A;C?AI
"e+tiles, 9olume ?, Woodbrid(e, Suffolk, 75, and -ochester, 82, the 4oydell
%ress ;CCO, IS48 DOIA1AIB?I?A;D1A1
%ayne, 4lanche& -istor( of 0ostume from the *ncient ,g(ptians to the
"wentieth 0entur(, )ar"er E -ow, 1DRG. 8o IS48 for this editionW 'SI8
4CCCR4,8#S
Sho""in( the Sales& #riend or #oe?
What :oes 2our .aste in ,usic Say 'bout 2our Style?
Suit and .ie& .he Cost of :ressin( 7"
.he %sycholo(y of 4rand /oyalty
.he %e"lum& .wo 2ears and .rendin(
!lder %osts
,ay
CI
th

Wal#ing 3all= 3he >sy&hology of the
Stiletto
C
I"here is an element of seuction in shoes that oesnJt e+ist for menK "he language
starts with the shoe an raiates over the whole bo(K Dou feel (ourself, empower
(ourself, &now (ourself= Dou are aware of (our bo(= "his little act of iscomfort pa(s
off in lots of other wa(s=L
A Christian /ouboutin, as 1uoted in #ogue=
ItJs no secret that the fashion industry is fi>ated on the hi(h heel shoe Y a (arment that
has transcended class, "rice, and trend cycles. ' source of ambi(uity, the hi(h heel
shoe has been seen as a symbol of "ower, o""ression, discomfort, confidence, and se>
a""eal all at once. /on( known to cause "ainful "odiatric conditions like bunions,
arthritis, and s"rains, hi(h heel shoes ha0e been lauded as symbols of femininity and
libeled as symbols of confinement and ob=ecti0ism.
'nd yet the hi(h heel shoe remains a 0ital "art of our fashion re"ertoire, with wearin(s
of this accessory takin( off since the be(innin( of #ebruary. !ne of the "roducts most
likely to be "urchased by com"ulsi0e sho""ers and the most hi(hly co0eted (arment
amon( fetishists (Mshoeporn), the sentiment that accom"anies hi(h heel shoes is dee"lyA
rooted in our "sycholo(y. In fact, Stylitics members were willin( to shell out o0er X1OC
a "air, des"ite the fact that some stilettos are only worn once or twice each year.
So e0en with the discomfort and "otential for "ainful side effects that accom"any
stilettos, why do we continue to hold them in such hi(h re(ard?
Studies ha0e shown that we actually find women most attracti0e when their le(s are
sli(htly lon(er than their torso. !n a "erson of a0era(e hei(ht, this o"timal le( len(th
was found to be about Ge lon(er than a womanJs a0era(e le( len(th naturally, so itJs no
sur"rise that we attem"t to rectify this Ge with an e>tra inch or two.
!ther studies ha0e demonstrated that hi(h heels "hysically alter a womanJs (ait in a
way that makes her a""ear both more attracti0e and more feminine than if she were
wearin( flats. In fact, ,arilyn ,onroe would famously remo0e half an inch from only
one of her heels, addin( an imbalance that (a0e her (ait an e>tra wi((le. 9oul (ou
li&e some fries with that sha&eN
.his "sycholo(y "articularly comes into "lay in the work"lace. While itJs no sur"rise
that heels are sta"les for formals and ni(hts out, women tend to do most of their stiletto
wearin( to work, accordin( to outfits worn by women on Stylitics.
f%hysically, it is im"ossible for a woman to cower in hi(h heels,g says /inda !J5eefe,
author of Shoes1 * 0elebration of ?umps, Sanals, Slippers an )ore. .his "hysical
chan(e in a womanJs "osture leads to a more "owerful stance, whether she feels
confident or not.
!n wearin( heels to work, business "sycholo(ist Hoe ,ayson e>"lains fthere are a lot
of "eo"le who think women do themsel0es a disser0ice by wearin( heels, but IJm not in
that cam". )eels (i0e me (ra0itas that I would not ha0e in lower shoes. )eels (et you
noticed and (i0e you "hysical stature, which in turn, (i0es you "ower, without
com"romisin( your femininity. So often, women ha0e to take on male attributes to be
successful in the work"lace, and this is a (reat way of di((in( our heels in and sayin(
no.g We think Sheryl Sandber( would be "roud.
So whether youJre a "ro"onent of heels or ha""y in flats, thereJs no 1uestion the stiletto
is here to stay. Will you rise to the occasion this S"rin(?
9ritten b( Bessica %ova&, Senior )ar&eting )anager for real>time tren insights
compan( St(litics= Bessica is a blogger, runner, coffee aict, avi alliterator, an
chambra( enthusiast=
Why "re 6igh 6eels So %nti&ing?
Se> and )i(h )eels
%ublished on #ebruary ?, ;CCD by @ad Saad, %h.:. in )omo Consumericus
.he recent 4ritish mo0ie titled 5inky 4oots (;CCG de"icts the story of a fourthA
(eneration shoe factory owner seekin( to sa0e his family business by de0elo"in( a
niche market of hi(hAheeled shoes for trans0estites. )is first "rototy"e is a flatAheeled
ma>imally comfortable and functional boot, 0oid of any inklin( of se>uality. )is
business "artner, a "erformin( trans0estite sin(er from /ondon, disa""ro0in(ly e>"lains
to him& 6/ook to the heel, youn( man. .he se> is in the heel.6 'n old shoemaker then
adds& 6Stilettos re1uire constant balance from the u""er le( causin( the muscles of the
backside to tense and a""ear "ert and ready for matin(.6 It is "erha"s not sur"risin( then
that one of the "roducts that is most likely to be "urchased by com"ulsi0e sho""ers (of
which DCe are women are shoes in (eneral and hi(hAheeled shoes in "articular.
Related Articles
:o the Clothes ,ake the ,an?
5nowin( When Someone+s 8ot -i(ht for 2ou
.he %sycholo(y of Women A What is the ,eanin( of )i(h )eels?
#ifty Shades of Camoufla(e& 4roadwell and 5elley
SantaJs Sock
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In cha"ter ? of my book (.he E0olutionary 4ases of Consum"tion, I re0iew se0eral
studies that ha0e e>"lored hi(h heels from an e0olutionary*biolo(ical "ers"ecti0e. It
turns out that hi(h heels raise the buttocks by around ;CA?C de(rees (de"endin( on the
si3e of the heel. In other words, it is an antiA(ra0ity de0ice meant to create a more
youthful fi(ure (i0en that the effects of (ra0ity are less than com"limentary as we a(e.
)ence, a @estalt is created by the hi(h heel, which caters to men+s e0ol0ed 0isual
"references. 's mi(ht be e>"ected then, se0eral consum"tion settin(s wherein se>uality
is sold or "romoted by women to men, will in0ol0e the wearin( of hi(h heels. E>am"les
include the "rocli0ity of "orno(ra"hic actresses, stri""ers, and bikini models to wear
hi(h heels in film scenes, stri" clubs, and beauty com"etitions res"ecti0ely.
I should note that the wearin( of hi(h heels is the direct cause of se0ere "odiatric
in=uries. .hat fact notwithstandin(, this is not a manifestation of the e0il "atriarchy
seekin( to unco0er new ways to harm women. -ather, both se>es (o to (reat len(ths to
be im"ressi0e in the matin( market, e0en if some of these attem"ts are selfAharmin(
(e.(., men en(a(e in risky matin(Arelatin( beha0iors that are e>ce"tionally dan(erous,
as a means of im"ressin( women.
#inally, I would be remiss if I did not mention a recent study by a woman urolo(ist who
a""arently found that the wearin( of hi(h heels stren(thens a woman+s "el0ic floor
muscles, leadin( to im"ro0ed se>.
4ottom line& the wearin( of hi(h heels is a winAwin situation (se>y to men+s eyes and
better se> for women, unless you are a short man dwarfed by your hi(hAheeled mate. I
feel your "ain ,r. .om CruiseF
,anolo 4lahnik& I+ll be e>"ectin( my cut should there be a s"ike in the sales of hi(h
heels in the foreseeable future.
Source for Ima(e&
2ashion a&&essory
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2ou can discuss how to im"ro0e it on its talk "a(e and ask 1uestions at the hel"
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4urberryAbrand handba(
' fashion a&&essory is an item which is used to contribute, in a secondary manner, to
the wearer+s outfit. .he term came into use in the 1Dth century. 'ccessories are often
used to com"lete an outfit and are chosen to s"ecifically com"lement the wearer+s look.
P1Q
!ne of the most fa0ored forms of semiotic distinction is fashion, because fashionable
clothes, accessories, and body adornment are easy for others to obser0e at (lance.
Incidental items, "articularly branded s"ecific handba(s, footwear, =ewelry, accessories,
and new hairstyles act also as im"ortant status symbols. Certain items of clothin(, such
as hats, were "articularly im"ortant, sendin( instant si(nals of ascribed or as"ired social
status. 's communications im"ro0ed, styles also s"read to members of the elite classes
in other "arts of the world.
Contents
1 .y"es
; )istory
? Subcultural si(nifiers
B /i0e accessories
G See also
R -eferences
O E>ternal links
"ypes
#ashion accessories can be loosely cate(ori3ed into two (eneral areas& those that are
carried and those that are worn. .raditional carried accessories include "urses and
handba(s, hand fans, "arasols and umbrellas, canes, and ceremonial swords.
'ccessories that are worn may include =ackets, boots and shoes, cra0ats, ties, hats,
bonnets, belts and sus"enders, (lo0es, muffs, =ewelry, watches, sashes, shawls, scar0es,
socks, and stockin(s.
P1Q
Sun(lasses, colored or sha"ed contact lenses, and other eyewear are commonly used as
fashion accessories, re(ardless of necessity for 0isual correction.
)ead(ear and hair ornaments include hair"ins or the more commonly known bobby
"ins, hair sticks, barrettes, headbands, and flowers inserted into hairdos. Wi(s, tou"ees,
and hair e>tensions su""lement natural manes due to hair loss or e0en com"letely
re"lace hair that is closeAcro""ed or com"letely sha0en off in some subcultures, such as
certain )asidic reli(ious sects.
<ewelry is a ma=or subcate(ory, includin( rin(s, cufflinks, tie tacks, necklaces,
bracelets, ai(rettes, la"el "ins, and other wearable adornments. SemiA"ermanent =ewelry
includes some earrin(s and nose rin(s, as well as li" "lu(s, earlobe "lu(s which can also
be referred to as ear (ua(es, and other items used with more e>otic body modifications.
)andba(s, 6man ba(s6, fanny "acks, sho""in( ba(s, briefcases, courier ba(s, day"acks,
camera ba(s, and e0en lar(e back"acks ha0e fashion im"lications beyond their use for
carryin( small items.
Smart"hones, miniaturi3ed "ortable music "layers, ear"hones and ear"lu(s, and
wearable com"utin( de0ices may also be re(arded as fashion accessories.
Some "rofessions ha0e de0elo"ed s"ecial clothin( features or accessories whose
distincti0e look has later been ado"ted by others as fashion statements, as well as for
utilitarian reasons. E>am"les include 6tenA(allon hats6 (cowboys, a0iator sun(lasses
(aircraft "ilots, sailor ca"s (mariners, car(o "ants (military and outdoorsmen, fishin(
0ests (fly fishermen, hardhats (construction workers, and a 0ariety of athletic shoes
from different s"orts.
%istory
In 9ictorian fashion accessories such as fans, "arasols and (lo0es held si(nificance for
how women e>"erienced (ender, race and class. In this era, there was a trend for women
to ado"t, or as"ire to, a more leisurely lifestyle. Conse1uently (lo0es were often used by
women to co0er their hands and mask any si(ns of labour.
P;Q
'lso, in the early 1Rth century in Italy hat bad(es were worn by ci0ilian men of a hi(her
social status as decorati0e item, in imitation of the ca" bad(es worn by the in0adin(
military. )at bad(es were often worn in con=unction with a decorati0e sword and hilt.
)at bad(es were fashioned after "la1uettes and often de"icted a scene with "ersonal
rele0ance to the wearer.
P?Q
Subcultural signifiers
.he Scottish s"orran and <a"anese netsuke are e>am"les of fashion accessories that
ha0e become identified with "articular nationalities and subcultures. ,ilitary
subcultures, such as samurai, nin=a, and s"ecial o"s soldiers each ha0e their own
s"eciali3ed e1ui"ment, some of which are reco(ni3ed by the (eneral "ublic as si(nifiers
of s"ecial knowled(e, skills, and status. %hysicians and nurses can be seen wearin(
stethosco"es and sur(ical scrub outfits on the street, markin( them as members of the
medical "rofessions. !ther (rou"s, such as alumni of "articular colle(es or s"orts fans
of "articular teams, use fashion accessories such as class rin(s, "atterned neckties and
scar0es, or baseball ca"s to reco(ni3e each other.
)ardware hackers may carry miniature flashli(hts and small handtools (such as the
widelyAreco(ni3ed Swiss 'rmy 5nife, both for functional use and for inA(rou"
reco(nition. In the ;Cth century, slide rules and then "ocket calculators and calculator
watches became authentic 6nerd fashion6 accessories before smart"hones rendered them
obsolete, whereu"on they were taken u" as retro style. %ocket "rotectors are now
a0ailable with s"ecial lo(os and in lu>ury materials such as leather or finely wo0en
metals, takin( their "lace beside money cli"s, wallets, "ass"ort carriers, and trucker+s
wallets.
Writers, "oets, and artists use tools such as fountain "ens, diaries, sketchbooks, and
colored "encils for their work, and such tools of the trade ha0e been taken u" by wouldA
be imitators, fans and admirers. )eadwear, such as berets, has been ado"ted by "eo"le
socially identified as 6hi"sters6 to symboli3e an artistic or creati0e orientation. @ay and
/@4.$ subcultures ha0e defiantly worn "ink trian(les, as well as rainbow fla(s and
other insi(nia to mark their membershi" in se>ual minorities.
:ru( user subcultures ha0e their own s"eciali3ed "ortable "ara"hernalia, some of which
were ado"ted by wider subcultures as fashion accessories. 'lcoholic be0era(es became
associated with hi" flasks and other surre"titious containers, es"ecially durin( the
'merican %rohibition years. .obacco use in 0arious forms ins"ired decorated match
bo>es, ci(arette li(hters, ci(arette holders, smokin( "i"es, snuff bottles and snuff bo>es,
"ortable water "i"es (hookahs or bon(s, and 6electronic ci(arettes6. Coke s"oons,
roach cli"s, and 0arious "ill holders, as well as re"ur"osed tobacco "ara"hernalia, ha0e
emer(ed as fashion items in some (rou"s.
#ive accessories
#lowers, in the form of nose(ays, boutonnihres, corsa(es, wreaths, bou1uets and other
forms, ha0e lon( been used as li0in( fashion accessories. In addition, small "ets,
includin( toy do(s, birds, li3ards, snakes, and chir"in( crickets ha0e been worn or
carried as fashion accessories. .alkin( "arrots are widely reco(ni3ed as "art of a
stereoty"ical "irate outfit. #or a time, the eccentric surrealist artist Sal0ador :ali would
carry a "et ocelot durin( his "ublic a""earances. In addition, beautiful women
com"anions of rich and "owerful men ha0e often been characteri3ed as 6arm candy6,
and small children ha0e been called the ultimate lu>ury fashion accessory.
See also
Si(n (semiotics
Status symbol
>ortals
'ccess related to"ics
Fashion portal
References
1. `
a

b
9alerie Cummin(W C. W. Cunnin(tonW %. E. Cunnin(ton (1G
8o0ember ;C1C. "he @ictionar( of Fashion -istor(. 4er(. ". 1. IS48 DOIA1A
IBOIIAG??A?. -etrie0ed D <anuary ;C1;.
;. 5 'riel 4eau=ot (<une ;C1;. #ictorian Fashion *ccessories. 4er(. ". 1.
IS48 DOI1IBOIIRI;I. -etrie0ed 1C ,ay ;C1?.
?. 5 ,arika /eino (O :ecember ;C1;. Fashion, @evotion an
0ontemplation 1 "he Status an Functions of /talian 'enaissance ?la<uettes .
%eter /an( '@. ". 1. IS48 DOI?C?D11CRI1. -etrie0ed 1C ,ay ;C1?.
External links
6aute &outure
.his article needs additional &itations for *erifi&ation. %lease hel" im"ro0e
this article by addin( citations to reliable sources. 7nsourced material may be
challen(ed and remo0ed. (@ecember 200;)
%ierre 4almain ad=ustin( a dress on model -uth #ord in 1DBO ("hoto(ra"hed by Carl
9an 9echten
)aute couture on the runway, by Christian /acroi>
6aute &outure (* o t k u t ir *W #rench "ronunciation& Pot ku+ty Q W #rench for 6hi(h
sewin(6 or 6hi(h dressmakin(6 or 6hi(h fashion6 refers to the creation of e>clusi0e
customAfitted clothin(. -aute couture is made to order for a s"ecific customer, and it is
usually made from hi(hA1uality, e>"ensi0e fabric and sewn with e>treme attention to
detail and finished by the most e>"erienced and ca"able seamstresses, often usin( timeA
consumin(, handAe>ecuted techni1ues. 60outure6 means dressmakin(, sewin(, or
needlework
P1Q
and is also used as a common abbre0iation of haute couture and refers to
the same thin( in s"irit.
P;Q
6-aute6 means ele(ant or hi(h. 'n haute couture (arment is
made s"ecifically for the wearerJs measurements and body stance.
P1Q
It ori(inally referred to En(lishman Charles #rederick Worth+s work, "roduced in %aris
in the midAnineteenth century.
P?Q
In modern #rance, haute couture is a 6"rotected name6
that can be used only by firms that meet certain wellAdefined standards. )owe0er, the
term is also used loosely to describe all hi(hAfashion customAfitted clothin(, whether it
is "roduced in %aris or in other fashion ca"itals such as /ondon, ,ilan, 8ew 2ork or
.okyo.
.he term can refer to&
the fashion houses or fashion desi(ners that create e>clusi0e and often trendA
settin( fashions
the fashions created
Contents
1 /e(al status
o 1.1 ,embers of the 0hambre S(nicale e la -aute 0outure
; )istory
? :ecline
B See also
G -eferences
R E>ternal links
#egal status
In #rance, the term haute couture is "rotected by law and is defined by the 0hambre e
commerce et $inustrie e ?aris based in %aris, #rance. .he chambre s(nicale e la
haute couture is defined as 6the re(ulatin( commission that determines which fashion
houses are eli(ible to be true haute couture houses6.
PBQ
.heir rules state that only 6those
com"anies mentioned on the list drawn u" each year by a commission domiciled at the
,inistry for Industry are entitled to a0ail themsel0es6 of the label haute couture. .he
chambre also deals with "iracy of style, forei(n relations and coordination of the fashion
collection timetables, and do some international ad0ertisin( for the #rench fashion
industry..he chambre also runs a %aris couture school to teach u"comin( desi(ners and
technicians the couture trade. .he school hel"s brin( new desi(ners to hel" the couture
houses that are still "resent today. .he criteria for haute couture were established in
1DBG and u"dated in 1DD;.
.o earn the ri(ht to call itself a couture house and to use the term haute couture in its
ad0ertisin( and any other way, members of the 0hambre s(nicale e la haute couture
must follow these rules&
:esi(n madeAtoAorder for "ri0ate clients, with one or more fittin(s.
)a0e a worksho" (atelier in %aris that em"loys at least fifteen "eo"le fullAtime.
,ust ha0e twenty fullAtime technical "eo"le in at least one atelier (worksho".
Each season (i.e., twice a year, "resent a collection to the %aris "ress,
com"risin( at least thirtyAfi0e runs*e>its with outfits for both daytime wear and
e0enin( wear.
)owe0er, the term haute couture may ha0e been misused by readyAtoAwear brands since
the late 1DICs, so that its true meanin( may ha0e become blurred with that of prOt>P>
porter (the #rench term for rea(>to>wear fashion in the "ublic "erce"tion. E0ery
haute couture house also markets prOt>P>porter collections, which ty"ically deli0er a
hi(her return on in0estment than their custom clothin(.
Pcitation neeeQ
#allin( re0enues ha0e
forced a few couture houses to abandon their less "rofitable couture di0ision and
concentrate solely on the less "resti(ious prOt>P>porter. .hese houses are no lon(er
considered haute couture.
,any to" desi(ner fashion houses, such as Chanel, use the word for some of their
s"ecial collections. .hese collections are often not for sale or they are 0ery difficult to
"urchase. Sometimes, 6haute couture6 is ina""ro"riately used to label nonAdressmakin(
acti0ities, such as fine art, music and more.
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/e(bers of the Chambre Syndicale de la Haute Couture
#or the S"rin(ASummer ;C1; season the official list of members is&
PRQ
Affi&ial (e(bers
'deline 'ndrST@usta0o /ins (frTChanelTChristian :iorTChristo"he <osse
T#ranck SorbierT@i0enchyT<ean %aul @aultierT,auri3io @alanteT
StS"hane -olland
POQ
8orres'ondent (e(bers ;foreign<
Elie SaabT@ior(io 'rmaniT @iambattista 9alliT9alentinoT9ersace
PIQ
Buest (e(bers
'le>andre 9authier (frT4ouchra <arrar (frTIris 9an )er"enT<ulien #ourniS
T,a>ime SimoensT2i1in( 2in (new in season SS;C1;
PIQ
.ewelry
4oucheronTChanel <oaillerieTChaumetT:ior <oaillerieT9an Cleef E
'r"els
"&&essories
/oulou de la #alaiseT,assaroT!n aura tout 0u
-ecent @uest members ha0e included the fashion houses of 4oudicca, Cathy %ill (fr,
-ichard -enS and 7do Edlin(,
PDQ
as well as Eymeric #rancois, @erald Watelet (fr,
8icolas /e Cauchois (fr
P1CQ
and Wuyon(.
P11Q
In the ;CCI*;CCD #all*Winter )aute
Couture week, Emanuel 7n(aro showed as an !fficial ,ember. 2or(er (e(bers
'le>is ,abille
'nna ,ay
'nne 9alSrie )ash
4alencia(a
Callot Soeurs
Car0en (fr
Christian /acroi>
Elsa Schia"arelli
Emilio %ucci
Erica S"itulski
Erik .enorio
Escada
#red Sathal
@ai ,attiolo
@rhs
@uy /aroche
)anae ,ori
<ac1ues #ath
<ac1ues @riffe (fr
<ac1ues )eim
<ean %atou
<eanA/ouis Scherrer (fr
<eanne /afaurie
<ose"h
<unaid <amshed
/an0in
/ecoanet )emant (fr
/efranc #errant
P1;Q
/oris '33aro
/ouis #eraud
/ucien /elon(
,ad Car"entier
,adeleine ChSruit
,adeleine 9ionnet
,adeleine 9ramant
,a((y -ouff (fr
,ainbocher
,ak Shoe
,arcel -ochas
,arcelle Chaumont
8ina -icci
%aco -abanne
%atrick 5elly
%aul %oiret
%ierre 4almain
%ierre Cardin
-abih 5ayrou3
PIQ

-al"h -ucci
-obert %i(uet (fr
.ed /a"idus
So"hie
.orrente
20es Saint /aurent
%istory
Chanel )aute Couture #allAWinter ;C11A;C1; #ashion Show by 5arl /a(erfeld
Italian leadershi" in Euro"ean fashion may date from the 1Ith century, howe0er #rench
fashion is also considerably influential in terms of )aute Couture A when the art,
architecture, music, and fashions of the #rench court at 9ersailles were imitated across
Euro"e
Pcitation neeeQ
. 9isitors to %aris brou(ht back clothin( that was then co"ied by local
dressmakers. Stylish women also ordered fashion dolls dressed in the latest %arisian
fashion to ser0e as models.
's railroads and steamshi"s made Euro"ean tra0el easier, it was increasin(ly common
for wealthy women to tra0el to %aris to sho" for clothin( and accessories. #rench fitters
and dressmakers were commonly thou(ht to be the best in Euro"e, and real %arisian
(arments were considered better than local imitations.
.he couturier Charles #rederick Worth (!ctober 1?, 1I;RY,arch 1C, 1IDG, is widely
considered the father of haute couture as it is known today.
P?QP1?Q
'lthou(h born in
4ourne, /incolnshire, En(land, Worth made his mark in the #rench fashion industry.
-e0olutioni3in( how dressmakin( had been "re0iously "ercei0ed, Worth made it so the
dressmaker became the artist of (arnishment& a fashion desi(ner. While he created oneA
ofAaAkind desi(ns to "lease some of his titled or wealthy customers, he is best known for
"re"arin( a "ortfolio of desi(ns that were shown on li0e models at the )ouse of Worth.
Clients selected one model, s"ecified colors and fabrics, and had a du"licate (arment
tailorAmade in Worth+s worksho". Worth combined indi0idual tailorin( with a
standardi3ation more characteristic of the readyAtoAwear clothin( industry, which was
also de0elo"in( durin( this "eriod.
#ollowin( in Worth+s footste"s were Callot Soeurs, %atou, %oiret, 9ionnet, #ortuny,
/an0in, Chanel, ,ainbocher, Schia"arelli, 4alencia(a, and :ior. Some of these fashion
houses still e>ist today, under the leadershi" of modern desi(ners.
In the 1DRCs a (rou" of youn( desi(ners who had trained under men like :ior and
4alencia(a left these established couture houses and o"ened their own establishments.
.he most successful of these youn( desi(ners were 20es Saint /aurent, %ierre Cardin,
'ndrS Courrh(es, .ed /a"idus, and Emanuel 7n(aro. <a"anese nati0e and %arisAbased
)anae ,ori was also successful in establishin( her own line.
/acroi> is one of the fashion houses to ha0e been started in the late ;Cth century. !ther
new houses ha0e included <eanA%aul @aultier and .hierry ,u(ler. :ue to the hi(h
e>"enses of "roducin( haute couture collections, /acroi> and ,u(ler ha0e since ceased
their haute couture acti0ities.
#or all these fashion houses, custom clothin( is no lon(er the main source of income,
often costin( much more than it earns throu(h direct salesW it only adds the aura of
fashion to their 0entures in readyAtoAwear clothin( and related lu>ury "roducts such as
shoes and "erfumes, and licensin( 0entures that earn (reater returns for the com"any.
E>cessi0e commerciali3ation and "rofitAmakin( can be dama(in(, howe0er. Cardin, for
e>am"le, licensed with abandon in the 1DICs and his name lost most of its fashionable
cachet when anyone could buy Cardin lu((a(e at a discount store. It is their readyAtoA
wear collections that are a0ailable to a wider audience, addin( a s"lash of (lamour and
the feel of haute couture to more wardrobes.
.he 1DRCs also featured a re0olt a(ainst established fashion standards by mods, rockers,
and hi""ies, as well as an increasin( internationali3ation of the fashion scene. <et tra0el
had s"awned a =et set that "artiedTand sho""edT=ust as ha""ily in 8ew 2ork as in
%aris. -ich women no lon(er felt that a %aris dress was necessarily better than one sewn
elsewhere. While %aris is still "reAeminent in the fashion world, it is no lon(er the sole
arbiter of fashion.
&ecline
.he number of couture houses decreased considerably o0er the ;Cth century, from 1CR
in 1DBR
Pcitation neeeQ
to a mere 1I in ;CCC
Pcitation neeeQ
. 4y ;CCB there were only D hi(hA
rankin( couture houses& Chanel, 9ersace, 9alentino, :ior, @i0enchy, @aultier, /acroi>,
,ori, Siro", Scherrer, and .orrente.
Pcitation neeeQ
.he listin( has been in considerable flu>
in recent years.
Pcitation neeeQ
See also
Fashion portal
4es"oke
4usiness cluster
:esi(ner label
#ashion
#ashion desi(ner
#ashion Week
#SdSration francaise de la couture
/ist of fashion desi(ners
/ist of (rands couturiers
/u>ury brand
References
1. `
a

b
)aute Couture, Its ,eanin( and -ole in #ashion .oday A #ashionA
Era
;. 5 6What is )aute Couture?6. -etrie0ed ;C11AC;A1D.
?. `
a

b
Claire 4. Shaeffer (;CC1. Couture sewin( techni1ues 6!ri(inatin(
in midA 1DthAcentury %aris with the desi(ns of an En(lishman named Charles
#rederick Worth, haute couture re"resents an archaic tradition of creatin(
(arments by hand with "ainstakin( care and "recision6. .aunton %ress, ;CC1
B. 5 Chambre Syndicale )istory and :e0elo"ment A #ashionAEra
G. 5 Wuyon( A :ancin( In ' )aute Couture :ebut
R. 5 6)auteACouture S"rin( Summer ;C1; :efiniti0e schedule6. -etrie0ed
;C1;AC1A1D.
O. 5 6)'7.E C!7.7-E A 1D dScembre ;C116. -etrie0ed ;C11A1;A;;.
I. `
a

b

c
6SS;C1; )aute Couture #ashion week desi(ners6. -etrie0ed ;C1;A
C1A1D.
D. 5 6)auteACouture #all Winter ;CCD*;C1C :efiniti0e schedule6. -etrie0ed
;CCDACOACG.
1C. 5 6)auteACouture S"rin( Summer ;CCI :efiniti0e schedule6. -etrie0ed
;CCIACRA;O.
11. 5 6)auteACouture #all Winter ;CCI*;CCD :efiniti0e schedule6. -etrie0ed
;CCIACRA;O.
1;. 5 6)auteACouture S"rin( Summer ;C11 :efiniti0e schedule6. -etrie0ed
;C11AC;A1D.
1?. 5 <ac1ueline C. 5ent (;CC?. 4usiness 4uilders in #ashion A Charles
#rederick Worth A .he #ather of )aute Couture .he !li0er %ress, Inc., ;CC?
External links
Wikimedia Commons has media related to& Haute couture
/ook u" couturier in Wiktionary, the free dictionary.
Introduction in )aute Couture
6)aute Couture6 from Label France, a ma(a3ine of the #rench ,inistry for
#orei(n 'ffairs
)aute Couture at the ,etro"olitan ,useum of 'rt+s "imeline of *rt -istor(
6.he @olden '(e of Couture6 . 9ictoria and 'lbert ,useum. -etrie0ed ;CCOACDA
1?.
6Interacti0e timeline of couture houses and couturier bio(ra"hies6 . 9ictoria and
'lbert ,useum.
#SdSration francaise de la couture
)aute Couture 8ews
0hristian @ior , e>hibition catalo( fully online as %:# from .he ,etro"olitan
,useum of 'rt
Cu,ury goods
(-edirected from /u>ury brand
6/u>uriant6 redirects here. #or the #rench wine (ra"e also known as /u>uriant, see
<urancon ((ra"e.
on the tal# 'age.
.his article needs additional &itations for *erifi&ation. (*ugust 2010)
.his article (ay &ontain original resear&h. (Qctober 2011)
.he ,ercedesA4en3 SAClass is a lu>ury sedan
Cu,ury goods are "roducts and ser0ices that are not considered essential and are
associated with affluence. .he conce"t of lu>ury has been "resent in 0arious forms since
the be(innin( of ci0ili3ation. Its role was =ust as im"ortant in ancient western and
eastern em"ires as it is in modern societies.
P1Q
With the clear differences between social
classes in earlier ci0ili3ations, the consum"tion of lu>ury was ori(inally limited to the
elite classes.
Contents
1 )istory
; Semantics
? Economics
B Socioeconomic si(nificance
G ,arket characteristics
R /u>ury brands
O ,arket si3e
o O.1 /u>ury bans
I ,arket trends
D /u>ury de"artment stores
1C /u>ury sho""in( districts
11 See also
1; -eferences
1? #urther readin(
%istory
With increasin( 6democrati3ation6,
P;Q
se0eral new "roduct cate(ories ha0e been created
within the lu>ury market, a"tly called 6accessible6 or 6mass lu>ury6. .hese are meant
s"ecifically for the middle class (in this conte>t, sometimes called the 6as"irin( class6.
4ecause lu>ury has now diffused into the masses, definin( the word has become
difficult.
P?Q
Se!antics
In contem"orary marketin( usa(e, %rof. 4ernard :ubois defines 6lu>ury6 as a s"ecific
(i.e. hi(herA"riced tier of offerin( in almost any "roduct or ser0ice cate(ory. )owe0er,
des"ite the substantial body of knowled(e accumulated durin( the "ast few decades,
researchers still ha0e not arri0ed on a common definition. ,any other attem"ts ha0e
been made to define it usin( the "riceA1uality dimension statin( hi(her "riced "roducts
in any cate(ory count as lu>uries. Similarly, researchers ha0e also com"ared (oods in
terms of their uni1ueness. %rof. <eanA8oel 5a"ferer takes an e>"eriential a""roach and
defines lu>ury as items which "ro0ide e>tra "leasure by flatterin( all senses at once.
Se0eral other researchers focus e>clusi0ely on dimension and ar(ue that lu>ury must
e0oke a sense of belon(in( to a certain elite (rou".
Pcitation neeeQ
Econo!ics
In economics, a lu,ury good is a (ood for which demand increases more than
"ro"ortionally as income rises, and is a contrast to a 6necessity (ood6, for which
demand increases "ro"ortionally less than income.
Pcitation neeeQ
/u>ury (oods are often
synonymous with su"erior (oods.
/u>ury (oods are said to ha0e hi(h income elasticity of demand& as "eo"le become
wealthier, they will buy more and more of the lu>ury (ood. .his also means, howe0er,
that should there be a decline in income its demand will dro". Income elasticity of
demand is not constant with res"ect to income, and may chan(e si(n at different le0els
of income. .hat is to say, a lu>ury (ood may become a normal (ood or e0en an inferior
(ood at different income le0els, e.(. a wealthy "erson sto"s buyin( increasin( numbers
of lu>ury cars for his automobile collection to start collectin( air"lanes (at such an
income le0el, the lu>ury car would become an inferior (ood.
Pcitation neeeQ
Socioecono!ic significance
<ewellery made of (old (or other "recious metals or containin( "recious (ems is a
te>tbook e>am"le of 6lu>ury (ood6, es"ecially as the "urity of the (old and the si3e of
the (ems increases.
Se0eral manufactured "roducts attain the status of 6lu>ury (oods6 due to their desi(n,
1uality, durability or "erformance that are remarkably su"erior to the com"arable
substitutes. .hus, 0irtually e0ery cate(ory of (oods a0ailable on the market today
includes a subset of similar "roducts whose 6lu>ury6 is marked by betterA1uality
com"onents and materials, solid construction, stylish a""earance, increased durability,
better "erformance, ad0anced features, and so on. 's such, these lu>ury (oods may
retain or im"ro0e the basic functionality for which all items of a (i0en cate(ory are
ori(inally desi(ned.
.here are also (oods that are "ercei0ed as lu>urious by the "ublic sim"ly because they
"lay a role of status symbols as such (oods tend to si(nify the "urchasin( "ower of
those who ac1uire them. .hese items, while not necessarily bein( better (in 1uality,
"erformance, or a""earance than their less e>"ensi0e substitutes, are "urchased with
the main "ur"ose of dis"layin( wealth or income of their owners. .hese kinds of (oods
are the ob=ects of a socioAeconomic "henomenon called conspicuous consumption and
commonly include lu>ury 0ehicles, watches, =ewelry, desi(ner clothin(, yachts, as well
as lar(e residences, urban mansions, and country houses. 'lso see "ositional (ood.
Market characteristics
Some lu>ury "roducts ha0e been claimed to be e>am"les of 9eblen (oods, with a
ne(ati0e "rice elasticity of demand& for e>am"le, makin( a "erfume more e>"ensi0e can
increase its "ercei0ed 0alue as a lu>ury (ood to such an e>tent that sales can (o u",
rather than down.
'lthou(h the technical term lu>ury (ood is inde"endent of the (oods+ 1uality, they are
(enerally considered to be (oods at the hi(hest end of the market in terms of 1uality and
"rice. Classic lu>ury (oods include haute couture clothin(, accessories, and lu((a(e.
,any markets ha0e a lu>ury se(ment includin(, for e>am"le, automobile, wine, bottled
water, tea, watches, =ewelry, hi(h fidelity, and chocolate.
/u>uries may be ser0ices. .he hirin( of fullAtime or li0eAin domestic ser0ants is a
lu>ury reflectin( dis"arities of income. Some financial ser0ices, es"ecially in some
brokera(e houses, can be considered lu>ury ser0ices by default because "ersons in
lowerAincome brackets (enerally do not use them.
#uxury brands
'rmani is an e>am"le of a lu>ury brand for clothin(.
' lu>ury brand or "resti(e brand is a brand for which a ma=ority of its "roducts are
lu>ury (oods. It may also include certain brands whose names are associated with
lu>ury, hi(h "rice, or hi(h 1uality, thou(h few, if any, of their (oods are currently
considered lu>ury (oods.
#or e>am"le, followin( a nearly cri""lin( attem"t to widely licence their brand in the
1DOCs and 1DICs, the @ucci brand is now lar(ely sold in directlyAowned stores. .he
4urberry brand is (enerally considered to ha0e diluted its brand ima(e in the 75 in the
early ;CCCs by o0erAlicensin( its brand, thus reducin( its cachet as a brand whose
"roducts were consumed only by the elite.
/9,) (/ouis 9uitton ,oet )ennessy is the lar(est lu>ury (ood "roducer in the world
with o0er fifty brands, includin( /ouis 9uitton, the brand with the world+s first desi(ner
label. .he /9,) (rou" made a "rofit of j;bn on sales of j1;bn in ;CC?. !ther market
leaders include %%- (after it "urchased the @ucci @rou" and -ichemont.
' rather small (rou" in com"arison, the wealthy tend to be e>tremely influential. !nce
a brand (ets an 6endorsement6 from members of this (rou", then the brand can be
defined as a true 6lu>ury6 brand. 'n e>am"le of different "roduct lines in the same
brand is found in the automoti0e industry, with 6entryAle0el6 cars marketed to youn(er,
less wealthy consumers, and hi(herAcost models for older and more wealthy consumers.
.he ad0ertisin( e>"enditure for the a0era(e lu>ury brand is GA1Ge of sales re0enue.
.his rises to about ;Ge with the inclusion of other communication such as "ublic
relations, e0ents and s"onsorshi"s.
PBQ
Market si'e
.he lu>ury (oods market has been on an u"ward climb for many years. '"art from the
setback caused by the 1DDO 'sian #inancial Crisis, the industry has "erformed well,
"articularly in ;CCC. In that year, the world lu>ury (oods market Y which includes
drinks, fashion, cosmetics, fra(rances, watches, =ewelry, lu((a(e, handba(s Y was worth
close to 7SX1OC billion and (rew O.D "ercent.
PGQ
.he lar(est sector in this cate(ory was
lu>ury drinks, includin( "remium whisky, Cham"a(ne, Co(nac. .his sector was the
only one that suffered a decline in 0alue (AC.D "ercent. .he watches and =ewelry section
showed the stron(est "erformance, (rowin( in 0alue by ;?.? "ercent, while the clothin(
and accessories section (rew 11.R "ercent between 1DDR and ;CCC, to 7SX?;.I billion.
8orth 'merica is the lar(est re(ional market for lu>ury (oods& unlike the modest ;.D
"ercent (rowth e>"erienced by the Western Euro"ean market, the 8orth 'merican
market achie0ed (rowth of =ust under 1C "ercent.
Pcitation neeeQ
.he to" ten markets for
lu>ury (oods account for I? "ercent of the market, and include <a"an, China, 7S',
-ussia, @ermany, Italy, #rance, 75, 4ra3il, S"ain, and Swit3erland.
Pcitation neeeQ
In ;C1;, China sur"assed <a"an as the world+s lar(est lu>ury market.
PRQ
Cu,ury bans
In <uly ;C1C, the 7nited States :e"artment of Ener(y banned the sale of lu>ury showers
that use more than D.G liters of water "er minute.
POQ
In #ebruary ;C1?, China banned ad0ertisements for lu>ury (oods on its official state
radio and tele0ision channels.
PIQ
Market trends
.he three dominant trends in the (lobal lu>ury (oods market are (lobali3ation,
consolidation, and di0ersification. @lobali3ation is a result of the increased a0ailability
of these (oods, additional lu>ury brands, and an increase in tourism. Consolidation
in0ol0es the (rowth of bi( com"anies and ownershi" of brands across many se(ments
of lu>ury "roducts. E>am"les include /9,), -ichemont, and %%-, which dominate
the market in areas ran(in( from lu>ury drinks to fashion and cosmetics. /eadin( (lobal
consumer com"anies, such as %rocter E @amble, are also attracted to the industry, due
to the difficulty of makin( a "rofit in the mass consumer (oods market.
#uxury depart!ent stores
Since the u"risin( of the +lu>ury brand+ in the 1ICCs, de"artment stores dedicated to
sellin( all ma=or lu>ury brands ha0e "o""ed u" in most ma=or cities around the world.
/e 4on ,arche located in %aris, #rance is credited for bein( one of the first of its kind,
but also 8eiman ,arcus, Selfrid(es, )ar0ey 8ichols, Saks #ifth '0enue, :a0id <ones,
5a:eWe, )arrods and )olt -enfrew are seen as some of the most influential and
historical. ,ost bi( fashion houses E =ewelers from Chanel to .iffany E Co. ha0e
bouti1ues located inside these massi0e stores.
#uxury shopping districts
'nother "henomenon of the lu>ury market are 6/u>ury Sho""in( '0enues6. Certain
thorou(hfares like /eeds+ 9ictoria $uarter, ,ilan+s 9ia ,onte 8a"oleone, -ome+s 9ia
Condotti, .okyo+s @in3a, ,oscow+s .0erskaya Street, 8ew 2ork+s ,adison '0enue and
#ifth '0enue, Chica(o+s ,ichi(an '0enue, 4e0erly )ills+ -odeo :ri0e, %aris+ Cham"sA
klysSes, '0enue ,ontai(ne and -ue du #aubour( SaintA)onorS, /ondon+s 4ond Street
and Sloane Street, ,e>ico City+s '0enida %residente ,asaryk, Slo %aulo+s -ua !scar
#reire, %ra(ue+s %amnoskM street, .oronto+s 4loor St., :Usseldorf+s 5]ni(sallee, /isbon+s
'0enida da /iberdade, ,elbourne+s Collins Street, Sin(a"ore+s !rchard -oad and
#rankfurt+s #rep(ass area are some "laces where most lu>ury brands tend to be
concentrated.
Pcitation neeeQ
.hese retail districts concentrate lu>ury (ood stores that are
mana(ed by lar(e cor"orations, while con0entional and inde"endent retailers are "ushed
out because of increasin( rent and real estate "rices.
Pcitation neeeQ
See also
Commodity fetishism
:esi(ner label
/u>ury real estate
%ositional (ood
9eblen (oods
Wealth effect
References
1. 5 6:efinin( lu>ury& the conundrum of "ers"ecti0es6.
4eta.lu>urysociety.com. -etrie0ed ;C1CACIACD.
;. 5 Won(, 8. 2., E 'hu0ia, '. C. (1DDI. %ersonal taste and family face&
/u>ury consum"tion in Confucian and Western societies. %sycholo(y E
,arketin(, 1G(G, B;?ABB1.
?. 5 6What is lu>ury?6. %aura0 Shukla. ;C1CACGA1B. -etrie0ed ;C1CACIACD.
B. 5 !konkwo, 7chS. /u>ury fashion brandin(& trends, tactics, techni1ues .
%a(e 1BG.
G. 5 f.he World ,arket for /u>ury @oods.g @lobal ,arket for /u>ury
@oods. 8o0 1, ;CC1, ,arch G, ;CCO.
R. 5 6China bans tele0ision ads for blin(6. -etrie0ed #ebruary 1G, ;C1?.
O. 5 %ower, S. 9all Street Bournal 6' Water #i(ht !0er /u>ury Showers6
<uly ;1, ;C1C
I. 5 Inocencio, -amy (#ebruary I, ;C1?. 6China bans tele0ision ads for
blin(6. 0%%. -etrie0ed #ebruary 1G, ;C1?.
Further reading
Chadha, -adhaW )usband, %aul. (;CCR. "he 0ult of the Lu+ur( !ran1 /nsie
*sia$s Love *ffair with Lu+ur(. IS48 1ADCBI?IACGAO.
)eine, 5laus& (;C11 "he 0oncept of Lu+ur( !rans= /u>ury 4rand
,ana(ement, 8o. 1, ISS8& ;1D?A1;CI
6istory of fashion design
on the tal# 'age.
.his article includes a list of references, but its sour&es re(ain un&lear be&ause
it has insuffi&ient inline &itations. (*pril 2012)
.his article relies largely or entirely u'on a single sour&e. (*pril 2012)
.his article (ay &ontain original resear&h. (Qctober 2010)
.his article is about the history of fashion design since 1DCC. #ashion desi(n is the art
of the a""lication of desi(n and aesthetics or natural beauty to clothin( and accessories.
.he modern fashion industry, based around firms or fashion houses run by indi0idual
usually male desi(ners, started in the 1Dth century with Charles #rederick Worth who
was the first desi(ner to ha0e his label sewn into the (arments that he created. #or the
fashion of earlier "eriods in the Western world, see )istory of Euro"ean clothin(.
Contents
1 Couture be(innin(s
; Early twentieth century
o ;.1 1DCCs
o ;.; 1D1Cs
? @olden a(e of #rench #ashion
o ?.1 1D;Cs
o ?.; 1D?Cs
B ,idAtwentieth century
o B.1 1DBCs
o B.; 1DGCs
o B.? 1DRCs
o B.B 1DOCs
G /ate twentieth century
o G.1 1DICs
o G.; 1DDCs
R .wenty #irst Century
o R.1 ;CCCs
O See also
I -eferences
D #urther readin(
Couture beginnings
:ress desi(ned by Charles #rederick Worth
.he first fashion desi(ner who was not merely a dressmaker was Charles #rederick
Worth (1I;GY1IDG. 4efore the former dra"er set u" his maison e couture (fashion
house in %aris, clothin( desi(n and creation was handled by lar(ely anonymous tailors
and seamstresses, and hi(h fashion descended from styles worn at royal courts. Worth+s
success was such that he was able to dictate to his customers what they should wear.
Early t(entieth century
.hrou(hout the early ;Cth century, "ractically all hi(h fashion ori(inated in %aris and to
a lesser e>tent /ondon. #ashion ma(a3ines from other countries sent editors to the %aris
fashion shows. :e"artment stores sent buyers to the %aris shows, where they "urchased
(arments to co"y (and o"enly stole the style lines and trim details of others. 4oth
madeAtoAmeasure salons and readyAtoAwear de"artments featured the latest %aris trends,
ada"ted to the stores+ assum"tions about the lifestyles and "ocket books of their tar(eted
customers.
't this time in fashion history the di0ision between haute couture and readyAtoAwear
was not shar"ly defined. .he two se"arate modes of "roduction were still far from bein(
com"etitors and they often coAe>isted in houses where the seamstresses mo0ed freely
between madeAtoAmeasure and readyAmade.
'round the start of the ;Cth century fashion style ma(a3ines be(an to include
"hoto(ra"hs and became e0en more influential than in the future. In cities throu(hout
the world these ma(a3ines were (reatly sou(htAafter and had a "rofound effect on "ublic
taste. .alented illustrators A amon( them %aul Iribe, @eor(es /e"a"e, ErtS, and @eor(e
4arbier A drew e>1uisite fashion "lates for these "ublications, which co0ered the most
recent de0elo"ments in fashion and beauty. %erha"s the most famous of these
ma(a3ines was La Gazette u !on "on which was founded in 1D1; by /ucien 9o(el
and re(ularly "ublished until 1D;G.
1!DDs
#ashionable lady of the era& "ortrait by @io0anni 4oldini (1IBGY1D?1 showin(
Eli3abeth Wharton :re>el in 1DCG.
.he outfits worn by the fashionable women of the +4elle k"o1ue+ (as this era was called
by the #rench were strikin(ly similar to those worn in the heyday of the fashion
"ioneer Charles Worth. 4y the end of the 1DthAcentury, the hori3ons of the fashion
industry had (enerally broadened, "artly due to the more stable and inde"endent
lifestyle many wellAoff women were be(innin( to ado"t and the "ractical clothes they
demanded. )owe0er, the fashions of the /a 4elle k"o1ue still retained the elaborate,
u"holstered, hour(lassAsha"ed style of the 1Dth century. 8o fashionable lady could (or
would yet dress or undress herself without the assistance of a third "arty. .he constant
need for radical chan(e, which is now essential for the sur0i0al of fashion within the
"resent system, was still literally unthinkable. .he use of different trimmin(s were all
that distin(uished one season from the other.
Cons"icuous waste and cons"icuous consum"tion defined the fashions of the decade
and the outfits of the couturiers of the time were incredibly e>tra0a(ant, elaborate,
ornate, and "ainstakin(ly made. .he cur0aceous SA4end silhouette dominated fashion
u" until around 1DCI. .he Sq4end corset was 0ery ti(htly laced at the waist which
forced the hi"s back and the droo"in( mono bosom was thrust forward in a "outer
"i(eon effect creatin( an S sha"e. .oward the end of the decade the fashionable
silhouette (radually became somewhat more strai(ht and slim, "artly due to %aul
%oiret+s hi(hAwaisted, shorterAskirted :irectoire line of clothes.
.he ,aison -edfern was the first fashion house to offer women a tailored suit based
directly on its male counter"art and the e>tremely "ractical and soberly ele(ant (arment
soon became an indis"ensable "art of the wardrobe of any wellAdressed woman.
'nother indis"ensable "art of the outfit of the wellAdressed woman was the desi(ner
hat. #ashionable hats at the time were either tiny little confections that "erched on to" of
the head, or lar(e and wide brimmed, trimmed with ribbons, flowers, and e0en feathers.
Caroline -ebou>, /e(rou>, and E. /ewis were the most sou(htAafter names of the time.
%arasols were still used as decorati0e accessories and in the summer they dri""ed with
lace and added to the o0erall elaborate "rettiness.
1!1Ds
:ress desi(ned by %aul %oiret
:urin( the early years of the 1D1Cs the fashionable silhouette became much more lithe,
fluid and soft than in the 1Dth century. When the 4allets -usses "erformed
Schehera3ade in %aris in 1D1C, a cra3e for !rientalism ensued. .he couturier %aul %oiret
was one of the first desi(ners to translate this 0o(ue into the fashion world. %oiret+s
clients were at once transformed into harem (irls in flowin( "antaloons, turbans, and
0i0id colors and (eishas in e>otic kimono. %aul %oiret also de0ised the first outfit which
women could "ut on without the hel" of a maid. .he 'rt :eco mo0ement be(an to
emer(e at this time and its influence was e0ident in the desi(ns of many couturiers of
the time. Sim"le felt hats, turbans, and clouds of tulle re"laced the styles of head(ear
"o"ular in the ;Cth century. It is also notable that the first real fashion shows were
or(ani3ed durin( this "eriod in time, by <eanne %a1uin, one of the first female
couturiers, who was also the first %arisian couturier to o"en forei(n branches in /ondon,
4uenos 'ires, and ,adrid.
.wo of the most influential fashion desi(ners of the time were <ac1ues :oucet and
,ariano #ortuny. .he #rench desi(ner <ac1ues :oucet e>celled in su"erim"osin( "astel
colors and his elaborate (ossamery dresses su((ested the Im"ressionist shimmers of
reflected li(ht. )is distin(uished customers ne0er lost a taste for his fluid lines and
flimsy, dia"hanous materials. While obeyin( im"erati0es that left little to the
ima(ination of the couturier, :oucet was nonetheless a desi(ner of immense taste and
discrimination, a role many ha0e tried since, but rarely with :oucet+s le0el of success.
.he 9eniceAbased desi(ner ,ariano #ortuny y ,adra3o was a curious fi(ure, with 0ery
few "arallels in any a(e. #or his dress desi(ns he concei0ed a s"ecial "leatin( "rocess
and new dyein( techni1ues. )e (a0e the name :el"hos to his lon( clin(in( sheath
dresses that undulated with color. Each (arment was made of a sin(le "iece of the finest
silk, its uni1ue color ac1uired by re"eated immersions in dyes whose shades were
su((esti0e of moonli(ht or of the watery reflections of the 9enetian la(oon. 4reton
straw, ,e>ican cochineal, and indi(o from the #ar East were amon( the in(redients that
#ortuny used. 'mon( his many de0otees were Eleonora :use, Isadora :uncan, ClSo de
,Srode, the ,archesa Casati, Emilienne d+'lencon, and /iane de %ou(y.
Chan(es in dress durin( World War I 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 acti0ities. Social e0ents had to be "ost"oned in fa0or of more
"ressin( en(a(ements and the need to mourn the increasin( numbers of dead, 0isits to
the wounded, and the (eneral (ra0ity of the time meant that darker colors became the
norm. ' new monochrome look emer(ed that was unfamiliar to youn( women in
comfortable circumstances. 4y 1D1G fashionable skirts had risen abo0e the ankle and
then later to midAcalf.
)olden age of French Fashion
.he "eriod between the two World Wars, often considered to be the @olden '(e of
#rench fashion, was one of (reat chan(e and reformation. Carria(es were re"laced by
cars, "rinces and "rincesses lost their crowns, and haute couture found new clients in the
ranks of film actresses, 'merican heiresses, and the wi0es and dau(hters of wealthy
industrialists.
1!2Ds
#ashionable )ollywood actress /ouise 4rooks
Soon after the #irst World War, a radical chan(e came about in fashion. 4ouffant
coiffures (a0e way to short bobs, dresses with lon( trains (a0e way to abo0eAtheAknee
"inafores. Corsets were abandoned and women borrowed their clothes from the male
wardrobe and chose to dress like boys. 'lthou(h, at first, many couturiers were
reluctant to ado"t the new andro(ynous style, they embraced them wholeheartedly from
around 1D;G. ' bustless, waistless silhouette emer(ed and a((ressi0e dressin(Adown
was miti(ated by feather boas, embroidery, and showy accessories. .he fla""er style
(known to the #rench as the +(arconne+ look became 0ery "o"ular amon( youn(
women. .he cloche hat was widely worn and s"ortswear became "o"ular with both men
and women durin( the decade, with desi(ners like <ean %atou and Coco Chanel
"o"ulari3in( the s"orty and athletic look.
.he (reat couturihre Coco Chanel was a ma=or fi(ure in fashion at the time, as much for
her ma(netic "ersonality as for her chic and "ro(ressi0e desi(ns. Chanel hel"ed
"o"ulari3e the bob hairstyle, the little black dress, and the use of =ersey knit for women+s
clothin( and also ele0ated the status of both costume =ewelry and knitwear.
.wo other "rominent #rench desi(ners of the 1D;Cs were <eanne /an0in and <ean
%atou. <eanne /an0in, who be(an her career in fashion as a milliner, made such
beautiful outfits for her youn( dau(hter ,ar(uerite that "eo"le started to ask for co"ies,
and /an0in was soon makin( dresses for their mothers. /an0in+s name a""ears in the
fashion yearbook from about 1DC1 onwards. )owe0er, it was in the 1D;Cs that she
reached the "eak of her "o"ularity and success. .he /an0in style embraced the look of
the time, with its skillful use of com"le> trimmin(s, da33lin( embroideries, and beaded
decorations in li(ht, clear, floral colors that e0entually became a /an0in trademark. 4y
1D;G /an0in "roduced many different "roducts, includin( s"ortswear, furs, lin(erie,
men+s fashion, and interior desi(ns. )er (lobal a""roach to fashion foreshadowed the
schemes that all the lar(e contem"orary fashion houses would later ado"t in their efforts
to di0ersify.(& .he style of <ean %atou was ne0er mainstream, but full of ori(inality and
characteri3ed by a studied sim"licity which was to win him fame, "articularly in the
'merican markets. ,any of his (arments, with their clean lines, (eometric and Cubist
motifs, and mi>ture of lu>ury and "racticality, were desi(ned to satisfy the new 0o(ue
for the outdoor life, and bore a remarkable similarity to modern s"ortswear. .he most
famous ad0ocate of his style was Su3anne /en(len, the le(endary tennis cham"ion.
In menswear there was a (rowin( mood of informality, amon( the 'mericans
es"ecially, which was mirrored in fashions that em"hasi3ed youthfulness and rela>ation.
In the "ast, there was a s"ecial outfit for e0ery e0ent in the wellAdressed (entleman+s
day, but youn( men in the 1D;Cs, no lon(er afraid to show their youthfulness, be(an to
wear the same soft wool suit all day lon(. Short suit =ackets re"laced the old lon(
=ackets of the "ast which were now only worn for formal occasions. ,en had a 0ariety
of s"ort clothes a0ailable to them, includin( sweaters and short "ants, commonly known
as knickers. #or e0enin( wear a short tu>edo was more fashionable than the tailAcoat,
which was now seen as somewhat oldAfashioned. .he /ondon cut, with its slim lines,
looseAfittin( slee0es, and "added shoulders, "erfected by the En(lish tailor Scholte, was
0ery "o"ular.
#air Isle "atterns became 0ery "o"ular for both se>es. )eels, at the time, were often
o0er two inches hi(h and hel"ed "o"ulari3e the twoAtone shoe its one of her trademarks.
Sal0atore #erra(amo and 'ndrS %eru(ia were two of the most influential and res"ected
desi(ners in footwear. ,any stars of the Psilent filmQs had a si(nificant im"act on
fashion durin( the 1D;Cs, "erha"s most notably /ouise 4rooks, @loria Swanson, and
Colleen ,oore. .he li(hthearted, forwardAlookin( fashions of the 1D;Cs (radually came
to halt after the Wall Street Crash of 1D;D, and succumbed to a more conser0ati0e style.
While the fla""er look "ersisted into 1D?C, it 1uickly disa""eared afterwards, althou(h
bellAsha"ed hats lasted throu(h 1D??.
1!3Ds
In the 1D?Cs, as the "ublic be(an to feel the effects of the @reat :e"ression, many
desi(ners found that crises are not the time for e>"erimentation. #ashion became more
com"romisin(, as"irin( to "reser0e feminism+s 0ictories while redisco0erin( a subtle
and reassurin( ele(ance and so"histication. !0erall, 1D?Cs clothin( was somber and
modest, reflectin( the difficult social and economic situation of the decade. Women+s
fashions mo0ed away from the brash, darin( style of the 1D;Cs towards a more
romantic, feminine silhouette. .he waistline was restored, hemlines dro""ed to nearly
ankleAlen(th, there was renewed a""reciation of the bust, and backless e0enin( (owns
and soft, slimAfittin( day dresses became "o"ular. .he female body was remodeled into
a more neoAclassical sha"e, and slim, toned, and athletic bodies came into 0o(ue. .he
fashion for outdoor acti0ities stimulated couturiers to manufacture what would today be
referred to as 6s"ortswear.6 .he term 6readyAtoAwear6 was not yet widely in use, but the
bouti1ues already described such clothes as bein( 6for s"ort6. In "lace of the bobbed
fla""er haircut, the standard women+s hairstyle of the 1D?Cs was a modest, short "erm.
.wo of the most "rominent and influential fashion desi(ners of the 1D?Cs were Elsa
Schia"arelli and ,adeleine 9ionnet. Elsa Schia"arelli showed her first collection in
1D;D and was immediately hailed by the "ress as +one of the rare inno0ators+ of the day.
With her e>citin( and in0enti0e desi(ns, Schia"arelli did not so much re0olutioni3e
fashion as shatter its foundations. .he first "ullo0er she dis"layed in her windows
created a sensation& it was knitted in black with a trom"eAl+oeil white bow. She
consistently turned out breathtakin( collections thereafter. Schia"arelli was a close
friend of Christian 4erard, <ean Cocteau, and Sal0ador :aln, who desi(ned embroidery
motifs for her and su""lied ins"iration for models like the desk suit with drawers for
"ockets, the shoeAsha"ed hat, the silk dresses "ainted with flies and bearin( a "icture of
a lar(e lobster, res"ecti0ely. 'll of %aris thron(ed to her salon at ;1 %lace 9endrme as
collection succeeded collection.
,adeleine 9ionnet found her ins"iration in ancient statues, creatin( timeless and
beautiful (owns that would not look out of "lace on a @reek frie3e. $ueen of the bias
cut (cuttin( dia(onally across the fabric+s len(thwise threads, she "roduced e0enin(
dresses that fitted the body without e>cessi0e elaboration or dissimulation, em"loyin( a
flowin( and ele(ant line. )er "erfect dra"in( of chiffon, silk, and ,oroccan cre"e
created a mar0elously "oised and sensual effect. .he un"aralleled success of 9ionnet+s
cuts (uaranteed her re"utation ri(ht u" to her retirement in 1D?D.
,ainbocher, the first 'merican desi(ner to li0e and work in %aris, was also influential,
with his "lain yet su"remely ele(ant desi(ns, often em"loyin( the bias cut "ioneered by
9ionnet. .he lu>ury (oods manufacturer )ermhs be(an to sell handmade "rinted silk
s1uare scar0es in the early 1D?Cs, in addition to "o"ulari3in( the 3i""er and many other
"ractical inno0ations. .oward the end of the decade, women+s fashions took on a
somewhat more im"osin( and broadAshouldered silhouette, "ossibly influenced by Elsa
Schia"arelli. ,en+s fashions continued the informal, "ractical trend that had dominated
since the end of the #irst World War.
Mid*t(entieth century
.he Second World War created many radical chan(es in the fashion industry. 'fter the
War, %aris+s re"utation as the (lobal center of fashion be(an to crumble, and offAtheA"e(
and massAmanufactured fashions became increasin(ly "o"ular. ' new youth style
emer(ed in the 1DGCs, chan(in( the focus of fashion fore0er. 's the installation of
central heatin( became more wides"read, the a(e of minimumAcare (arments be(an, and
li(hter te>tiles and, e0entually, synthetics, were introduced.
In the West, the traditional di0ide that had always e>isted between hi(h society and the
workin( class became considered un=ustifiable. In "articular, a new youn( (eneration
wanted to rea" the benefits of a boomin( consumer society. %ri0ile(e became less
blatantly ad0ertised than in the "ast and differences were more (lossed o0er. 's the
ancient Euro"ean hierarchies were o0erturned, the e>ternal marks of distinction faded.
4y the time the first rockets were launched into s"ace, Euro"e was more than ready to
ado"t a 1uality readyAtoAwear (arment alon( 'merican linesTsomethin( to occu"y the
middle (round between offAtheA"e( and couture. .his need was all the more "ressin(
because increases in o0erheads and raw material costs were be(innin( to rele(ate
handmade fashion to the sidelines. ,eanwhile, ra"idly de0elo"in( new technolo(ies
made it increasin(ly easy to manufacture an e0erAim"ro0in(, hi(hA1uality "roduct.
#aced with the threat of a factoryAmade, fashionAbased "roduct, %arisian haute couture
mounted its defenses, but to little effect. While the old world was takin( its final bow,
the chan(es in fashion were one of the most 0isible manifestations of the (eneral shakeA
u" in society. 4efore lon(, classes of women hitherto restricted to inferior substitutes to
haute couture would en=oy a (reatly enlar(ed freedom of choice. :ealin( in far lar(er
1uantities, "roduction cycles were lon(er than those of couture worksho"s, which meant
that stylists "lannin( their lines for the twiceAyearly collections had to try to (uess more
than a year in ad0ance what their customers would want. ' new authority had taken
o0erTthat of the street, constitutin( a further threat to the dictatorshi" of couture.
1!4Ds
,any fashion houses closed durin( the occu"ation of %aris durin( World War II,
includin( the ,aison 9ionnet and the ,aison Chanel. Se0eral desi(ners, includin(
,ainbocher, "ermanently relocated to 8ew 2ork. In the enormous moral and
intellectual reAeducation "ro(ram undertaken by the #rench state, couture was not
s"ared. In contrast to the stylish, liberated %arisienne, the 9ichy re(ime "romoted the
model of the wife and motherTa robust, athletic youn( womanTa fi(ure much more
consistent with the new re(ime+s "olitical a(enda. ,eanwhile, @ermany was takin(
"ossession of o0er half of what #rance "roduced, includin( hi(h fashion, and was
considerin( relocatin( #rench haute couture to 4erlin and 9ienna, neither of which had
any si(nificant fashion tradition. .he archi0es of the Chambre Syndicale de la Couture
were sei3ed, includin(, most conse1uentially, the client list. .he "oint of all this was to
break u" a mono"oly that su""osedly threatened the dominance of the .hird -eich.
:ue to difficult times, hemlines cre"t u"ward in both e0enin( wear and day wear, the
latter of which was made usin( substitute materials whene0er "ossible. #rom 1DBC
onward, no more than four meters (thirteen feet of cloth was "ermitted to be used for a
coat and a little o0er one meter (three feet for a blouse. 8o belt could be o0er ?
centimetres (one and a half inches wide. :es"ite this, haute couture did its best to kee"
its fla( flyin(. )umor and fri0olity became a "o"star way of defyin( the occu"yin(
"owers and couture sur0i0ed. 'lthou(h some ha0e ar(ued that the reason it endured was
due to the "atrona(e of the wi0es of wealthy 8a3is, in actuality, records re0eal that,
aside from the usual wealthy %arisiennes, it was an eclectic mi> of the wi0es of forei(n
ambassadors, clients from the black market, and miscellaneous other "atrons of the
salons (amon( whom @erman women were but a minority that ke"t the doors(shut
o"en at fashion houses such as <ac1ues #ath, ,a((y -ouff, ,arcel -ochas, <eanne
/afaurie, 8ina -icci, and ,adeleine 9ramant.
%ermed hairstyles remained standard, althou(h durin( the +BCs, this e0ol0ed into a
bobbed roll alon( the lower "art of the hairline.
:urin( the !ccu"ation, the only true way for a woman to flaunt her e>tra0a(ance or add
color to a drab outfit was to wear a hat. In this "eriod, hats were often made of scra"s of
material that would otherwise ha0e been thrown away, includin( bits of "a"er and wood
sha0in(s. 'mon( the most inno0ati0e milliners of the time were %auline 'dam, Simone
8audet, -ose 9alois, and /e ,onnier.
%aris+s isolated situation in the 1DBCs enabled 'mericans to fully utili3e the in(enuity
and creati0ity of their own desi(ners. :urin( the Second World War, 9era ,a>well
"resented outfits constituted of "lain, sim"ly cut coAordinates, and introduced
inno0ations to men+s work clothes. 4onnie Cashin transformed boots into a ma=or
fashion accessory, and, in 1DBB, be(an the "roduction of ori(inal and ima(inati0e
s"ortswear. Claire ,cCardell, 'nne 5lein, and Cashin formed a remarkable trio of
women who laid the foundations of 'merican s"ortswear, ensurin( that readyAtoAwear
was not considered a mere second best, but an ele(ant and comfortable way for modern
women to dress.
In the War 2ears, the 3oot suit (and in #rance the 3a3ou suit became "o"ular amon(
youn( men.
,any actresses of the time, includin( -ita )ayworth, 5atharine )e"burn, and ,arlene
:ietrich, had a si(nificant im"act on "o"ular fashion.
.he couturier Christian :ior created a tidal wa0e with his first collection in #ebruary
1DBO. .he collection contained dresses with accentuated busts, tiny (or 6was"6 waists,
and e>tra0a(antly full skirts, em"hasi3in( the feminine hour(lass fi(ure in a manner
0ery similar to the style of the 4elle k"o1ue. .he la0ish use of fabric and the feminine
ele(ance of the desi(ns a""ealed to "ostAwar clientele, and ensured :ior+s meteoric rise
to fame. .he sheer so"histication of the style incited the allA"owerful editor of the
'merican )ar"er+s 4a3aar, Carmel Snow, to e>claim +.his is a new lookF+.
1!5Ds
#lyin( in the face of continuity, lo(ic, and erudite sociolo(ical "redictions, fashion in
the 1DGCs, far from bein( re0olutionary and "ro(ressi0e, used more from the "re0ious
decade. ' whole society which, in the 1D;Cs and 1D?Cs, had (reatly belie0ed in
"ro(ress, was now much more circums"ect. :es"ite the fact that women had the ri(ht to
0ote, to work, and to dri0e their own cars, they chose to wear dresses made of o"ulent
materials, with corseted waists and swirlin( skirts to midAcalf. 's fashion looked to the
"ast, haute couture e>"erienced somethin( of a re0i0al and s"awned a myriad of star
desi(ners who "rofited hu(ely from the ra"id (rowth of the media.
.hrou(hout the 1DGCs, althou(h it would be for the last time, women around the world
continued to submit to the trends of %arisian haute couture. .hree of the most "rominent
of the %arisian couturiers of the time were Cristobal 4alencia(a, )ubert de @i0enchy,
and %ierre 4almain. .he fru(al "rince of lu>ury, Cristobal 4alencia(a Esa(ri made his
fashion debut in the late 1D?Cs. )owe0er, it was not until the "ostAwar years that the full
scale of the in0enti0eness of this hi(hly ori(inal desi(ner became e0ident. In 1DG1, he
totally transformed the silhouette, broadenin( the shoulders and remo0in( the waist. In
1DGG, he desi(ned the tunic dress, which later de0elo"ed into the chemise dress of 1DGO.
'nd e0entually, in 1DGD, his work culminated in the Em"ire line, with hi(hAwaisted
dresses and coats cut like kimonos. )is mastery of fabric desi(n and creation defied
belief. 4alencia(a is also notable as one of the few couturiers in fashion history who
could use their own hands to desi(n, cut, and sew the models which symboli3ed the
hei(ht of his artistry.
)ubert de @i0enchy o"ened his first couture house in 1DG; and created a sensation with
his se"arates, which could be mi>ed and matched at will. ,ost renowned was his
4ettina blouse made from shirtin(, which was named after his to" model. Soon,
bouti1ues were o"ened in -ome, Hurich, and 4uenos 'ires. ' man of immense taste
and discrimination, he was, "erha"s more than any other desi(ner of the "eriod, an
inte(ral "art of the world whose understated ele(ance he hel"ed to define.
%ierre 4almain o"ened his own salon in 1DBG. It was in a series of collections named
+<olie ,adame+ that he e>"erienced his (reatest success, from 1DG; onwards. 4almain+s
0ision of the ele(antly dressed woman was "articularly %arisian and was ty"ified by the
tailored (lamour of the 68ew /ook6, with its am"le bust, narrow waist, and full skirts,
by mastery of cut and ima(inati0e assemblies of fabrics in subtle color combinations.
)is so"histicated clientele was e1ually at home with lu>urious ele(ance, sim"le
tailorin(, and a more natural look. 'lon( with his haute couture work, the talented
businessman "ioneered a readyAtoAwear ran(e called #lorile(e and also launched a
number of hi(hly successful "erfumes.
'lso notable is the return of Coco Chanel (who detested the 68ew /ook6 to the fashion
world. #ollowin( the closure of her salons in the war years, in 1DGB, a(ed o0er se0enty,
she sta(ed a comeback and on #ebruary G she "resented a collection which contained a
whole ran(e of ideas that would be ado"ted and co"ied by women all o0er the world&
her famous little braided suit with (old chains, shiny costume =ewelry, silk blouses in
colors that matched the suit linin(s, sleek tweeds, mono(rammed buttons, flat black silk
bows, boaters, 1uilted ba(s on chains, and e0enin( dresses and furs that were mar0els of
sim"licity.
:es"ite bein( a hi(h fashion desi(ner, 'merican born /ainbo&her also desi(ned
military and ci0ilian ser0ice uniforms. In 1DG;, he redesi(ned the Women ,arines
ser0ice uniform combinin( femininity with functionality. %re0ious redesi(ns include
uniforms for the W'9ES (Women 'cce"ted for 9olunteer Emer(ency Ser0ice in
1DB;, and uniform desi(ns for the @irl Scouts of the 7S' and the 'merican -ed Cross
in 1DBI.
:ior+s 68ew /ook6 (that "remiered in 1DBO re0i0ed the "o"ularity of (irdles and the
allAinAone corselettes. In the early 1DGCs, many couture houses used the interest in
6foundationwear6 to launch their own lines, soon after many lin(erie manufacturers
be(an to build their own brands. In 1DGO, <ane -ussell wore the 6Cantile0er6 bra that
was scientifically desi(ned by )oward )u(hes to ma>imi3e a 0olu"tuous look. .he
in0ention of /ycra (ori(inally called 6#ibre 56 in 1DGD re0olutioni3ed the underwear
industry and was 1uickly incor"orated into e0ery as"ect of lin(erie.
'fter the war, the 'merican look (which consisted of broad shoulders, floral ties,
strai(htAle((ed "ants, and shirts with lon( "ointed collars, often worn han(in( out rather
than tucked in became 0ery "o"ular amon( men in Euro"e. Certain /ondon
manufacturers ushered in a re0i0al of Edwardian ele(ance in men+s fashion, ado"tin( a
ti(htAfittin( retro style that was intended to a""eal to traditionalists. .his look,
ori(inally aimed at the res"ectable youn( man about town, was translated into "o"ular
fashion as the .eddy boy style. .he Italian look, "o"ulari3ed by Caraceni, 4rioni, and
Cifonelli, was taken u" by an entire (eneration of ele(ant youn( lo0ers, on both sides of
the 'tlantic. %laid was 0ery common in 1DGCs men+s fashion, both for shirts and suits,
alon( with the 6ducktail6 haircut, which was often 0iewed as a symbol of teena(e
rebellion and banned in schools.
:urin( the second half of the 1DGCs, there was a (eneral mo0e towards less formal
clothin(, es"ecially amon( men+s fashion. .he fedora and )ombur( hat, as well as
trench coats, disa""eared from wides"read use (this trend had already be(an some years
earlier on the more informal West Coast of the 7S after ha0in( been standard "arts of
menswear since the 1D;Cs.
.he desi(ners of )ollywood created a "articular ty"e of (lamour for the stars of
'merican film, and outfits worn by the likes of ,arilyn ,onroe, /auren 4acall, or
@race 5elly were widely co"ied. $uantitati0ely s"eakin(, a costume worn by an actress
in a )ollywood mo0ie would ha0e a much bi((er audience than the "hoto(ra"h of a
dress desi(ned by a couturier illustrated in a ma(a3ine read by no more than a few
thousand "eo"le. Without e0en tryin( to kee" track of all the %aris styles, its costume
desi(ners focused on their own 0ersion of classicism, which was meant to be timeless,
flatterin(, and "hoto(enic. 7sin( a""arently lu>urious materials, such as se1uins,
chiffon, and fur, the clothes were 0ery sim"ly cut, often includin( some memorable
detail, such as a lowAcut back to a dress which was only re0ealed when the actress
turned her back from the camera or some "articularly stunnin( accessory. .he most
influential and res"ected desi(ners of )ollywood from the 1D?Cs to the 1DGCs were
Edith )ead, !rryA5elly, William .ra0illa, <ean /ouis, .ra0is 4anton, and @ilbert
'drian. E0eryday women+s clothin( durin( the decade consisted of lon( coats, hats with
small 0eils, and leather (lo0es. 5neeAlen(th dresses combined with "earl necklaces,
which were made instantly "o"ular by #irst /ady ,amie Eisenhower. Short, "ermed
hair was the standard women+s hairstyle of the "eriod.
4y the end of the decade massAmanufactured, offAtheA"e( clothin( had become much
more "o"ular than in the "ast, (rantin( the (eneral "ublic un"recedented access to
fashionable styles.
1!6Ds
7ntil the 1DRCs, %aris was considered to be the center of fashion throu(hout the world.
)owe0er, between 1DRC and 1DRD a radical shakeAu" occurred in the fundamental
structure of fashion. #rom the 1DRCs onward, there would ne0er be =ust one sin(le,
"re0ailin( trend or fashion but a (reat "lethora of "ossibilities, indi0isibly linked to all
the 0arious influences in other areas of "eo"le+s li0es. %ros"erity and the emer(ence of a
distinct teena(er culture, combined with the counterculture mo0ement, would all ha0e
ma=or effects on fashion.
'fter ?C years of conser0ati0e clothin( styles, the +RCs saw a kind of throwback to the
1D;Cs with women once a(ain ado"tin( a childlike look with bobbed haircuts and
"ro(ressi0ely less modest clothin(. 't the start of the decade skirts were kneeAlen(th,
but steadily became shorter and shorter until the miniAskirt emer(ed in 1DRG. 4y the end
of the decade they had shot well abo0e the stockin( to", makin( the transition to ti(hts
ine0itable.
,any of the radical chan(es in fashion de0elo"ed in the streets of /ondon, with such
(ifted desi(ners as ,ary $uant (known for launchin( the mini skirt and 4arbara
)ulanicki (the founder of the le(endary bouti1ue 4iba. %aris also had its share of new
and re0olutionary desi(ners, includin( %ierre Cardin (known for his 0isionary and
skillfully cut desi(ns, 'ndrS Courrh(es (known for his futuristic outfits and for
launchin( the mini skirt alon( with ,ary $uant, 20es Saint /aurent (known for his
re0olutionary yet ele(ant fashions, and Emanuel 7n(aro (known for his ima(inati0e
use of color and bold baro1ue contrasts. In the 7nited States, -udi @ernreich (known
for his a0antA(arde and futuristic desi(ns and <ames @alanos (known for his lu>urious
readAtoAwear were also reachin( a youn( audience. .he main outlets for these new
youn( fashion desi(ners were small bouti1ues, sellin( outfits that were not e>actly +oneA
offs+, but were made in small 1uantities in a limited ran(e of si3es and colors. )owe0er,
not all desi(ners took well to the new style and mood. In 1DRG, Coco Chanel mounted a
rear(uard action a(ainst the e>"osure of the knee and 4alencia(a resolutely continued to
"roduce feminine and conser0ati0e desi(ns.
.he basic sha"e and style of the time was sim"le, neat, trim, and colorful. Synthetic
fabrics were 0ery widely used durin( the 1DRCs. .hey took dyes easily and well, (i0in(
rise to colors that were both clear and bri(ht, 0ery much mirrorin( the mood of the
"eriod. )ats had already be(an their decline in the "re0ious decade and were now
almost com"letely e>tinct e>ce"t for s"ecial occasions. /ower kitten heels were a "retty
substitute to stilettos. %ointed toes (a0e way to chisel sha"ed toes in 1DR1 and to an
almond toe in 1DR?. #lat boots also became "o"ular with 0ery short dresses in 1DRG and
e0entually they rose u" the le( and reached the knee.
.he +RCs for the first time saw a wides"read assortment of "o"ular hairstyles, includin(
bobs, "a(eboy cuts, and beehi0es.
.wo notable and influential desi(ners in the 1DRCs were Emilio %ucci and %aco
-abanne. Emilio %ucci+s s"ortswear desi(ns and "rints ins"ired by !" art, "sychedelia,
and medie0al heraldic banners earned him a re"utation that e>tended far beyond the
circles of hi(h society. )is sleek shift dresses, tunics, and beachwear, created a
+%uccimania+ that was all "art of a mo0ement to liberate the female form and his desi(ns
are today synonymous with the 1DRCs. #rancisco -abaneda Cuer0o (later %aco
-abanne o"ened his first couture house in 1DRR and, from the start, "roduced resolutely
modern desi(ns. -ather than usin( con0entional dress materials, he created (arments
from aluminum, -hodoid, and "ieces of scra" metal. )is desi(ns, as well as bein(
e>"erimental, were also closely in tune with what modern ad0enturous youn( women
wanted to wear. 'mon( his inno0ations are the seamless dress made, after much
e>"eriment, by s"rayin( 0inyl chloride on to a mold, and the lowAbud(et dis"osable
dress made of "a"er and nylon thread. -abanne was also the first fashion desi(ner to use
black models, which 0ery nearly resulted in his dismissal from the Chambre Syndicale
de la Couture %arisienne. .he success of his "erfume Calandre hel"ed su""ort the less
"rofitable areas of his work, while his uto"ianism assured him a uni1ue "osition in the
conser0ati0e world of haute couture.
.he "rinci"al chan(e in menswear in the 1DRCs was in the wei(ht of the fabric used.
.he choice of materials and the method of manufacture "roduced a suit that, because it
was li(hter in wei(ht, had a totally different look, with a line that was closer to the
natural sha"e of the body, causin( men to look at their fi(ures more critically. .he
s"read of =eans ser0ed to accelerate a radical chan(e in the male wardrobe. 2oun( men
(rew their hair down to their collars and added a touch of color, and e0en floral motifs,
to their shirts. .he "olo neck ne0er succeeded in re"lacin( the tie, but the ado"tion of
the workman+s =acket in rou(h corduroy, and es"ecially the ,ao =acket "ro0ed to be
more than sim"ly a "olitical statement. ' few futuristic rumblin(s were set off by %ierre
Cardin and 'ndre Courrh(es, but the threeA"iece suit still sur0i0ed intact.
In the early 1DRCs there were influential +"artnershi"s+ of celebrities and hi(hAfashion
desi(ners, most famously 'udrey )e"burn with @i0enchy, and <ackie 5ennedy with
!le( Cassini. 'lso, many models had a 0ery "rofound effect on fashion, most notably
.wi((y, 9eruschka, <ean Shrim"ton. Early in the decade, culottes were in style and the
bikini finally came into fashion in 1DR?. .he hi""ie and "sychedelic mo0ements late in
the decade also had a stron( influence on clothin( styles, includin( bell>bottom =eans
(desi(ned by the En(lish tailor .ommy 8utter, from his Sa0oy store, tieAdye and batik
fabrics, as well as "aisley "rints.
1!Ds
8icknamed the +me+ decadeW +"lease yourself+ was the catch"hrase of the 1DOCs. Some
saw it as the end of (ood taste. .he decade be(an with a continuation of the hi""ie look
of the late 1DRCs, with kaftans, Indian scar0es, and floralA"rint tunics. <eans remained
frayed and bellAbottomed, tie dye was still "o"ular, and the fashion for unise>
mushroomed. 'n immense mo0ement claimin( ci0il ri(hts for blacks combined with
the influence of soul music from the 7S' created a nostal(ia for 'frica and 'frican
culture. ' radical chic emer(ed, influenced by the likes of <ames 4rown, :iana -oss,
'n(ela :a0is, and the 4lack %anthers, in e0erythin( from afro hairstyles to "latform
soles. :urin( the 1DOCs brands (reatly increased their share of the international market.
)ems be(an dro""in( in 1DOB to below the knee, until finally reachin( the lower mid
calf in 1DOO and shoulderlines were dro""ed. 'fter 1DOG, fashions came to be
dominated by the 6disco look6 which included feathered women+s haircuts and on men,
the threeA"iece leisure suit. 4ellAbottomed "ants would remain "o"ular throu(h the
entire decade.
%erha"s the two most inno0ati0e fashion desi(ners in 1DOCs #rance were 5en3o .akada
and Sonia -ykiel. .he undis"uted star of %arisian fashion in the 1DOCs, 5en3o drew his
ins"iration from all o0er the world, mi>in( Western and !riental folk influences with a
fantastic =oie de 0i0re and an instincti0e understandin( of what his youn( customers
wanted. With his fluid lines, unusual "rints, cle0er accessories, and finery that was
hitherto un"recedented in readyAtoAwear, he 0ery much turned the fashion world u"side
down. .he 1ueen of fi(ureAhu((in( knits, in 1DOB, Sonia -ykiel desi(ned her first
"ullo0ers with re0ersed seams. )owe0er, more than that, she created a whole ran(e of
clothes that were e>tremely indi0idual and yet could be worn almost anywhere. .he
-ykiel style, dominated by fluid knitted (arments, dark blacks, rhinestones, lon( boaA
like scar0es, and little crocheted hats, con1uered the 'merican market, and e0en to this
day -ykiel is considered by many 'mericans as the true successor of Chanel.
4ecause of "unk, /ondon retained a considerable de(ree of influence o0er fashion, most
si(nificantly in the bouti1ues of the 5in(+s -oad, where 9i0ienne Westwood+s bouti1ue,
SEV, which o"ened in 1DO1, blew with the "re0ailin( wind. .his tem"le of 4ritish
iconoclasm centered on fetishistic accessories and ran(es of clothin( in which black
rubber and steel studs were the e>ternal si(ns of an underlyin( sadism. %ostmodernist
and iconoclastic in essence the "unk mo0ement was a direct reaction to the economic
situation durin( the economic de"ression of the "eriod, the 0ehicle for a hatred that was
more 0isceral than "olitical. %unk had at its heart a manifesto of creation throu(h
disorder. With their ri""ed .Ashirts, -ed Indian hairstyles, :oc ,artens, bonda(e
trousers, and chains, the "unks e>"orted an o0erall feelin( of dis(ust around the (lobe.
'nother "o"ular 4ritish style the was the resolutely unmodern, feminine, countrified
style of clothin( "o"ulari3ed by /aura 'shley, which consisted of lon( flounced skirts
and hi(hAnecked blouses in traditional floral "rints, worn with crocheted shawls. /aura
'shley started out runnin( a small business in Wales in the midA1DRCs and the com"any
continued to e>"and until the accidental death of its owner in 1DIG. /aura 'shley was
not the only desi(ner to look nostal(ically to the "ast. #ashions based on the 1D;Cs, ?Cs,
BCs, and GCs were "o"ular throu(hout much of the decade, with )ollywood films like
"he Gofather and "he Great Gatsb(, and numerous e>hibitions on costume history at
the ,etro"olitan ,useum of 'rt in 8ew 2ork increasin( their "o"ularity. In <a"an, the
bouti1ues of .okyo+s fashionable )ara=uku district sold many reworked 0ersions of
traditional 4ritish and 'merican looks.
In the 7nited States, the (eneral trend in fashion was towards sim"lification and lon(er
skirts, althou(h many women reacted ne(ati0ely to the midiAlen(th, which they felt to
be a(in(. %ants, on the other hand, earned unanimous a""ro0al. <eans "rofited most
from becomin( an acce"ted "art of the 'merican fashion scene in the 1DOCs, their newA
found res"ectability deri0in( from their inclusion in collections under the headin( of
s"ortswear. .he new stars of 'merican readyAtoAwear ada"ted the best of what they
learned from Euro"e to the massi0e 'merican clothin( industry. Cal0in 5lein and
-al"h /auren rose from anonymity more or less simultaneously to tackle the 1uestion of
desi(nin( clothes for the men and women of a new world. .wo o""osin( mo0ements
dominated fashion in the 7.S.'. durin( the 1DOCs. !n one hand, there was the tailored,
unise> lookW on the other hand, a fluid, unstructured style with a stron( feelin( of 1D?Cs
(lamor. .he most influential 'merican desi(ner of the time, -oy )alston #rowick
(known sim"ly as )alston, belon(ed to the latter cate(ory. 'c1uirin( celebrity status
on the 8ew 2ork scene, his "articular talent was in reconcilin( the madeAtoAmeasure
(arment for the s"ecial occasion with conce"ts of comfort, naturalness, and rela>ation.
With his kaftans, shirtwaisters, d=ellabas, ultraAli(htwei(ht shift dresses, and tunics
worn o0er shorts and wideAle((ed "ants, he was an icon of the era, and a re(ular 0isitor
at the 9I% room of the Studio GB after its o"enin( in 1DOO.
@eoffrey 4eene, "raised for his ele(ant and so"histicated cuts and his use of black and
white, was at his most successful in the radically sim"lified desi(ns at which he
e>celled. )is smart little dresses and wellAcut suits in =ersey, flannel, and wool were
instrumental in discoura(in( 'merican women from o0erAaccessori3in(. 4ill 4lass, who
launched his own ran(e in 1DR;, de0elo"ed the habit of tra0elin( all o0er the 7nited
States in order to hear for himself what his customers desired. !ne of the most "o"ular
desi(ners of the time, he was almost too successful in fulfillin( his customers wishes.
)is disci"lined style and workmanshi" was "articularly fa0ored by businesswomen and
the wi0es of senior e>ecuti0es. 4etsey <ohnson started out desi(nin( for the bouti1ue
%ara"hernalia. 7sin( 0inyl and metallic fabrics and "uttin( em"hasis on wit,
ima(ination, and inde"endence, she brou(ht an un"recedented s"irit of irre0erence to
8ew 2ork in the 1DOCs.
In "o"ular fashion the (lam rock style of clothin(, worn by such rock "erformers as
:a0id 4owie and ,arc 4olan, was 0ery influential, "articularly in the 7nited 5in(dom.
.he desi(ner Elio #iorucci had a 0ery similar look. )is bouti1ue in ,ilan sold such
thin(s as bri(htly colored rubber boots, "lastic daisy sandals, fake fur, and %o" 'rtA
ins"ired =ackets.
:urin( the 1DOCs a new (eneration of menswear bouti1ues s"ran( u", aimin( to chan(e
the decor, rituals, and customer base of a traditionally +difficult+ trade. .o sell
fashionable clothes to a youn( man at the end of the 1DRCs was still, in many circles,
tantamount to 1uestionin( his masculinity. ,en+s a""earance chan(ed more in the
1DOCs than it had done in a whole century. ,any of the fashion desi(ners who
re0olutioni3ed the male look owed a lot of their inno0ations to %ierre Cardin& narrow
shoulders, ti(htAfittin( lines, no tie, no interfacin(, 3i"Au" boiler suits, waisted =ackets or
tunics, sometimes no shirt. Work clothes su""lied ins"iration for a less formal style,
encoura(in( desi(ners to look beyond the traditional suit and, for e>am"le, ado"t a
unise> look or in0esti(ate the massi0e su""ly of secondAhand clothes. Sometimes this
kind of male dressin(Adown, often denounced as +hi""ie+, (ained formal reco(nition as a
deliberate look. 't certain other times, as "art of a retro mo0ement, desi(ners
introduced a re0i0al of 1D?Cs ele(ance. .he unearthin( of old military clothin(,
"referably khaki and from the 7nited StatesW En(lishAstyle shoesW !>ford shirtsW
immaculate .AshirtsW tweed =ackets with "added shouldersW bri(htly colored 9Aneck
sweatersW cashmereA"rinted scar0es dra"ed around the neck all im"osed a certain
uniformity on the casual beatnik look of the male wardrobe at the end of the 1DOCs.
'lso si(nificant are the de0elo"ments in Italian fashion that ha""ened durin( the "eriod.
In the course of the 1DOCs, as a result of its readyAtoAwear industry, ,ilan confirmed its
status as second only to %aris as a center of international fashion. .he +alta moda+
"referred -ome, the base of the couturiers 9alentino, Ca"ucci, and Sch]n. Ca"itali3in(
on the dominant trend of antiAfashion Italy offered a (lamor that had nothin( to do with
the dictates of %arisian haute couture. While "rofitin( from a clearly defined style,
Italian fashion was lu>urious and easy to wear. .he two most influential Italian fashion
desi(ners of the time were "robably @ior(io 'rmani and 8ino Cerruti. @ior(io 'rmani
"roduced his first collection for women in 1DOG. #rom the outset, the line was dynamic,
urban, and understated, andro(ynous in ins"iration. 'rmani offered a restrained style
that (reatly a""ealed to the increasin( "o"ulation of women who now had access to the
world of work and occu"ied "ro(ressi0ely more senior "ositions within it. .his was
only the be(innin( of a tremendous career, which came to fruition in 1DI1 when
Em"orio 'rmani was launched. In 1DGO 8ino Cerruti o"ened the menswear bouti1ue
-itman in ,ilan. ' man of taste and discernment, in 1DOR he "resented his first
collection for women. .wo years later, he launched his first "erfume. In linkin( the
career of a successful industrialist with that of a hi(hA1uality desi(ner, Cerruti occu"ied
a uni1ue "osition in Italian readyAtoAwear.
#ate t(entieth century
:urin( the late ;Cth century, fashions be(an to crissAcross international boundaries with
ra"idity. %o"ular Western styles were ado"ted all o0er the world, and many desi(ners
from outside of the West had a "rofound im"act on fashion. Synthetic materials such as
/ycra*s"ande>, and 0iscose became widely used, and fashion, after two decades of
lookin( to the future, once a(ain turned to the "ast for ins"iration.
1!8Ds
.he society of the 1DICs no lon(er critici3ed itself as consumerist, but was, instead,
interested in +the s"ectacle+. .he selfAconscious ima(e of the decade was 0ery (ood for
the fashion industry, which had ne0er been 1uite so s la mode. #ashion shows were
transfi(ured into mediaAsaturated s"ectaculars and fre1uently tele0ised, takin( hi(h
"riority in the social calendar. '""earance was related to "erformance, which was of
su"reme im"ortance to a whole (eneration of youn( urban "rofessionals, whose desire
to look the "art related to a cra0in( for "ower. .he way in which men and women
associated with the latest styles was no more a matter of "assi0e submission but disco
music ra"idly fell out of fa0or as the decade be(an, alon( with its associated clothin(
styles. 4y 1DI;, the last traces of 1DOCs fashion were (one.
:urin( the 1DICs, the mullet became the standard men+s haircut and women s"orted
lar(e, s1uareAcut "erms althou(h there were many 0ariations of both. <um"suits became
a "o"ular element of female clothin( and on men, skinny neckties and wra"around
sun(lasses. 'lso durin( the +ICs, aerobics were in 0o(ue and so brou(ht into style
S"ande> le((in(s and headbands.
.he two #rench fashion desi(ners who best defined the look of the "eriod were .hierry
,u(ler and '33edine 'laia. Stron(ly influenced by his early career in the theater,
.hierry ,u(ler "roduced fashion desi(ns that combined )ollywood retro and futurism,
with rounded hi"s, shar"ly accentuated shoulders, and a sli(ht hint of the (alactic
heroine. ,u(ler+s (lamorous dresses were a remarkable success, and si(nified the
com"lete end of the hi""y era and its unstructured silhouette. 5nown for his aweA
ins"irin( combinations, '33edine 'laia (reatly influenced the silhouette of the woman
of the 1DICs. .he master of all kinds of techni1ues that had "re0iously been known only
to haute couture, he e>"erimented with many new and underused materials, such as
s"ande> and 0iscose. .he finish, sim"licity, and sheer se>iness of 'laia+s look made
women of e0ery (eneration identify with his seducti0e style, and durin( the 1DICs he
achie0ed a certain (lory and was held in hi(h re(ard by members of his own "rofession.
'lso creatin( desi(ns 0ery ty"ical of the era were Claude ,ontana, whose im"osin(,
broadAshouldered desi(ns, often made of leather, would not ha0e looked out of "lace in
the futuristic uni0erse of .hierry ,u(ler, and Christian /acroi>, who sent shock wa0es
throu(h the world of haute couture, with his flounced skirts, embroidered corselets,
bustles, and "olkaAdotted crinolines which e0oked the rhythms of flamenco.
' number of "romisin( newcomers entered the fashion scene in the 1DICs. 'n(elo
.arla33i, an e>traordinary technician who once worked for %atou, bewitched both the
"ress and his customers with his +handkerchief+ dresses. ,ade of s1uares of fabric, they
trans"ired, when you came to "ut them on, to be far more com"licated than at first
a""eared. ,any a %arisian soirSe of the 1DICs was enli0ened by his dresses, all in a
fluid and ori(inal style, in which cuttin( and sewin( were ke"t to a minimum. Chantal
.homas, the 1ueen of se>y stockin(s and lace, won a de0oted followin( for her
seducti0e underwear and for e0enin( (owns that looked like ni(htdresses and 0ice
0ersa. @uy %aulin was one of the first desi(ners to "romote a se0ere, "lain, and
uncluttered look. )is (arments were classical in their "ro"ortions and made for comfort
and sim"licity, with their harmonious lines reinforced by a subtle "alette of colors and
fine materials. 7nder his own name, <ose"h desi(ned lu>urious knitwear alon( classic
lines, creatin( loose, se>y (arments in neutral colors. Carolina )errera, lon( re(arded as
one of the most ele(ant members of the =et set, in 1DI1 launched a series of collections
aimed at women like herself, featurin( im"eccably cut clothes of hi(h 1uality and
attracti0e e0enin( dresses.
<a"anese desi(ners such as -ei 5awakubo and 2oh=i 2amamoto offered a look which
marked a total break with the "re0ailin( fashion ima(e of the time. #lat shoes, no makeA
u", reser0e, modesty, and secrecy were the hallmarks of this modern look. E0entually, it
be(an to include details from the fashions of the "ast, as Euro"e+s ancient sites were
re0isited by these anarchists of fashion, whose influence on sha"e of clothes, at the end
of the ;CthAcentury, became le(endary.
In 'merican fashion the seducti0e, clin(in( style of :onna 5aran and the casual
so"histication of -al"h /auren were 0ery influential. ' star of the 8ew 2ork social
scene, :onna 5aran brou(ht a 0ery "ersonal and feminine a""roach to the se0ere,
soberAcolored, casual look that dominated 'merican readyAtoAwear. Settin( u" her own
label in 1DIB, her desi(ns won instant "o"ularity amon( acti0e urban women who
(reatly a""reciated the understated lu>ury of her clothes. In 1DO1 -al"h /auren o"ened
a bouti1ue for both men and women in 4e0erly )ills. )is aristocratic style at "rices the
a0era(e 'merican could afford created a sensation. #or an elite faced with all kinds of
a0antA(arde fashions, it re"resented a rallyin( "oint, endorsin( a classic look that had
been ado"ted for an acti0e life. .he number one of 'merican readyAtoAwear, /auren
was e1ually successful with his s"ortswear and =eans, which allowed him to reach the
widest "ossible ran(e of social classes and a(e (rou"s.
Central to the success of a new wa0e of 'merican s"ortswear was the %erry Ellis label,
established in 1DOI, which used color and natural fibers to (reat ad0anta(e in its ele(ant
0ariations on the basics. 8orma 5amali, with her short skirts made of sweatshirtin(,
leotards, headbands, and le( warmers, made =o((in( look fashionable. 5amali also
created the "o"ular +rahArah skirt+. 'lso notable is the e>treme "o"ularity of the 'didas
s"orts label, which achie0ed an incredible le0el of street cred in the 1DICs, incitin( the
hi" ho" (rou" -un :,C to release the sin(le +,y 'didas+ in 1DIR. .he le(endary shoe
desi(ner ,anolo 4lahnik also rose to fame durin( the 1DICs.
.he multi"licity of trends that bloomed durin( the ICs were curtailed by the economic
recession that set in at the be(innin( of the 1DDCs, lar(ely destroyin( the o"timistic
mood that is so ad0anta(eous to the fashion industry.
1!!Ds
In the 1DDCs it was no lon(er the done thin( to follow fashion sla0ishly, a shar" contrast
to the hi(hly a la mode 1DOCs and 1DICs. .he "hobia of bein( underdressed was finally
com"letely dis"laced by the fear of o0erdressin(. #ashion in the 1DDCs united around a
new standard, minimalism, and styles of stark sim"licity became the 0o(ue. :es"ite the
best efforts of a few desi(ners to kee" the fla( for "retty dresses flyin(, by the end of
the decade the notion of ostentatious finery had 0irtually disa""eared. 's well as the
stylin( of the "roduct, its "romotion in the media became crucial to its success and
ima(e. .he financial "ressures of the decade had a de0astatin( effect on the
de0elo"ment of new talent and lessened the autonomy en=oyed by more established
desi(ners.
#ashion at the end of the ;Cth century tackled themes that fashion had not "re0iously
embraced. .hese themes included ra"e, disability, reli(ious 0iolence, death, and body
modification. .here was a dramatic mo0e away from the se>y styles aimed at the
(lamorous femme fatale of the 1DICs, and many desi(ners, taken with a 0ision of
romantic "o0erty, ado"ted the style of the "o0ertyAstricken waif, dressed in a stark,
"er0ersely sober "alette, with a face de0oid of makeAu". Clothes by readyAtoAwear
retailers such as .he @a", 4anana -e"ublic, and Eddie 4auer came to the forefront of
fashion, mana(in( to ta" into the needs of women who sim"ly wanted comfortable,
wearable clothes. -etro clothin( ins"ired by the 1DRCs and 1DOCs was "o"ular for much
of the 1DDCs.
.he famous Italian fashion house, @ucci was created in 1D;1, by @uccio @ucci and was
ori(inally a firm that sold lu>ury leather (oods. 7nder @uccio @ucci+s children, by the
end of the 1DRCs the label had e>"anded to include a "lethora of "roducts with a
distinctly /atin (lamor. )owe0er, only in the 1DDCs, when the @ucci heirs (a0e u"
control of the com"any to In0est Cor"., who "lanned to turn the business around, did it
truly be(in to en=oy the kind of success it en=oys in the "resent day. Em"loyin( an
unknown desi(ner, .om #ord, as desi(n director in 1DDB, the fashion house was
endowed with a (reat "resti(e, as #ord tri((ered a tidal wa0e with his chic and shockin(
collections, "erfumes for men and women, re0am"ed bouti1ues, and ad0ertisin(
cam"ai(ns. In 1DDI @ucci is named 6Euro"ean Com"any of the year6 by Euro"ean
4usiness %ress #ederation.
P1Q
.oday it is the second bi((estAsellin( fashion brand (after
/9,) worldwide with 7SXO billion worldwide of re0enue in ;CCR accordin( to
4usinessWeek ma(a3ine.
P;Q
In the 1DDCs the desi(ner label %rada became a true creati0e force in the fashion
industry. .he ,ilanese com"any was first established in 1D;?, two years after @ucci,
and like @ucci, it was a firm that sold hi(hA1uality shoes and leather. It was until the
1DICs that ,iuccia %rada, the niece of the com"any+s founder, be(an to "roduce readyA
toAwear fashion, (ainin( fame for her subtle, streamlined, yet un1uestionably lu>urious
style, that catered for the "ri0ile(ed youn( woman who "refers understatement to
flamboyant e>tra0a(ance.
In 'merica three of the most influential fashion desi(ners of the time were ,ichael
5ors, ,arc <acobs, and Cal0in 5lein. ,ichael 5ors set u" his own business in 1DIC.
)owe0er, it was not until the 1DDCs that the desi(ner reached the "eak of his "o"ularity.
)is knowled(e and consciousness of trends enabled him to "roduce sim"le wellAcut
(arments, whose so"histication and ele(ance a""ealed to a whole new breed of wealthy
'merican customers drawn to the new 0o(ue for minimalist chic. ,arc <acobs is one of
the most notable 'merican desi(ners of the "eriod in that, unlike many 'merican
fashion desi(ners in the "ast, he was not so much the coAordinator of a massA"roduced
(arment as a desi(ner in the Euro"ean sense of the word. !ne of the most "romisin(
talents in the fashion industry at the time, the /9,) (/ouis 9uittonA,oet )enessy
(rou" offered him the =ob of desi(nin( a line of readyAtoAwear to com"liment the deA
lu>e "roducts of lu((a(e s"ecialist /ouis 9uitton in the late 1DDCs. !ne of the first
fashion desi(ners to antici"ate the (lobali3ation of world markets, the already wellA
known desi(ner Cal0in 5lein started to market his fashions, "erfumes, and accessories
not only ri(ht across the 7S, but also in Euro"e and 'sia, achie0in( an une1ualed
success. ' brilliant artistic director, 5lein used carefully constructed ad0ertisements
containin( ima(es tinted with eroticism to "romote his so"histicatedly functional massA
"roduced desi(ns, which won massi0e "o"ularity amon( the urban youth of the 1DDCs.
.he (rou" of desi(ners known as the +'ntwer" Si>+ (so named because all of them were
(raduates of the -oyal 'cademy of #ine 'rts in 'ntwer", who first emer(ed in the
1DICs, came to "rominence in the 1DDCs. .hree of the most influential of the (rou" were
'nn :emeulemeester, :ries 0an 8oten, and Walter 9an 4eirendonck. 'nn
:emeulemeester, from her first collection in 1DD1, demonstrated a (reat deal of
confidence and in0enti0eness. 8aturally inclined to understatement, she built her
desi(ns on contradictions, introducin( contrastin( elements into her fluid and
streamlined fashions, which a""ealed to women who dressed, abo0e all, to "lease
themsel0es. .he work of :ries 0an 8oten was founded on a solid mastery of the art of
tailorin(, to which the youn( desi(ner added discreet touches of fantasy in a hi(hly
"ersonal style. ,ana(in( to be both classical and ori(inal, his fashions a""ealed to
those who "referred to e>"ress their indi0iduality rather than sla0ishly follow trends.
Walter 9an 4eirendonck, who eru"ted onto the fashion scene in 1DDG, "roduced
decidedly futuristic desi(ns under his label W E /. (Wild and /ethal .rash.
:eliberately usin( fabrics de0elo"ed by the 0ery latest technolo(ies, in 0iolently
contrastin( colors, he "roduced clothes that were full of erotic and sadomasochistic
references, touched with a caustic adolescent humor. )is hi(hly distincti0e a""roach
related to a resur(ence of antiAfashion, but this time an antiAfashion with nothin( in the
least ethnic about its ori(ins, instead based on science fiction that "ro0ided the
ins"iration for dis"lays of such hi(hAs"irited "ro0ocation.
In Italy, @ianni 9ersace, with his brilliant, se>y, and colorful desi(ns, and :olce E
@abbana, with their su"erfeminine and fantastical style, broke away from the serious
and soberAminded fashions that dominated durin( much of the 1DDCs. .he 4ritish
desi(ner 9i0ienne Westwood "roduced many influential and "o"ular collections in the
early 1DDCs, which included outfits ins"ired by 1IthAcentury courtesans and the ,ar1uis
de Sade, with rounded hi"s, corsets, and "latform heels. .he /ondonAbased desi(ner
-ifat !3bek was also "o"ular, "articularly in 8ew 2ork and ,ilan. )is youthful style,
which mi>ed references to India, 'frica, and his nati0e .urkey with cle0er takes on
historical clothin(, was reminiscent of hi""est ni(htclubs and the more outra(eous street
fashions of the time. -a" music was a "rominent influence on "o"ular and street fashion
durin( the early and midA1DDCs. #ollowers of hi" ho" ado"ted hu(e ba((y =eans, similar
to those worn in 'merican "risons, with bi( "atterned shirts and hea0y black shoes. .he
s"orts label 8ike had (reat "o"ularity and materials such as /ycra*s"ande> were
increasin(ly used for s"ortswear. Increasin( ecoAawareness and animal ri(hts made
e0en to" couture houses such as Chanel introduce fake fur and natural fibers into their
collections.
"(enty First Century
2DDDs
In the ;CCCs, with the %akistani industry which bloomed in the 1DCCs, the 1uality and
mysti1ue of Italian fashion is unsur"risin(ly dominant in the twentieth century and
,ilan well established as the 6center6 of fashion and desi(n. .his is e0idenced throu(h
the famous 69o(ue Italia6, bein( the most internationally acclaimed and most res"ected
ma(a3ine in the fashion world. .hus ,ilan re"lacin( %aris as the most "resti(ious
center.
's the future be(an to seem increasin(ly bleak, fashion, and indeed the 'rts in (eneral,
looked to the "ast for ins"iration, ar(uably more so than in "re0ious decades. 9inta(e
clothin(, es"ecially from the 1DRCs, 1DOCs, and 1DICs (the 1DICs idea of clashin(,
electric colours becomin( es"ecially "o"ular in midAlate ;CCO became e>tremely
"o"ular and fashion desi(ners often sou(ht to emulate by(one styles in their collections.
.he early ;CCCs saw a continuation of the minimalist look of the 1DDCs in hi(h fashion,
ado"ted and incor"orated into @ior(io 'rmani+s desi(ns.
/ater on, desi(ners be(an to ado"t a more colorful, feminine, e>cessi0e, and +antiA
modern+ look, which is seen in the :olce E @abbana brand, in (roundin( some of their
ins"iration from Italy+s "ast. 8ame brands ha0e became of "articular im"ortance amon(
youn( "eo"le and many celebrities launched their own lines of clothin(. .i(hter fit
clothin( and lon(er hair became mainstream for many men and women, this sense of
modernism and futurism as well as the (rowin( interest of youn( "eo"le was hea0ily
influenced, for instance, by the Cal0in 5lein and 'rmani brand names, with their
6<eans6 lines tar(etin( youn( "rofessionals. .herefore, Italian fashion has ob0iously
re"laced the #rench 6Couture6 influence of old times, howe0er to the en0y of some
%arisian counter"arts in their des"erate attem"ts of claimin( international media
attention and outlets such as ad0ertisin( in ma=or ma(a3ines, ha0e attem"ted to
o0ershadow the reality of Italy+s success and dominance o0er #rench desi(ns and the
undercurrent consumer "reference to Italian name brands, althou(h in some media
outlets it su((ests otherwise, as seen throu(h the lack of ad0ertisin( 6balance6 between
#rench and Italian brands A the (rowth of #rench desi(ners claimin( more ad0ertisin(
s"ace, and financial "riority in ad0ertisin( initiati0es.
.herefore, there is 0ery stron( e0idence that the fundamental authority in the fashion
industry still rests stron(ly with Euro"e, "articularly ,ilan and Italian desi(ners A
e0idenced throu(h the "al"able international "raise and worshi"in( of the 1uality and
su"eriority of Italian tailorin( and 6'lta Costura6 or 6hi(hAend6 Italian desi(ner
"roducts. -e(ardless of the modern "henomena of the (rowth of lu>ury resorts and
"roducts bein( manufactured outside Euro"e, such as in 'sia and the ,iddleAEast,
ama3in(ly, ,ilan is still the dominant center of lu>ury and "resti(e in the world,
su""orted by its history and su"erior 1uality sur"assin( the other soAcalled 6centers6
labelled by the media which are based mainly on industry and ad0ertisin(, rather than
1uality and ele(ance. .hese trends su((est that ,ilanese dominance will continue, as
desi(ners from forei(n nations look u" to and com"letely de"end on Italian and #rench
maestros and masters of the art to teach them. .here is an increasin( need for e>cellence
and 6hy"erAlu>ury6, stated in 9o(ue 'ustralia ,arch ;C1;, as seen throu(h Italian and
#rench desi(ner "rices climbin( e0en hi(her in s"ite of the recent economic crisis.
#or many of the ownAlabel desi(ners who emer(ed in the early years of the ;1st
century, financial factors became increasin(ly critical. ,any new youn( talents found
they now de"ended on in0estors (to whom, in e>treme cases, they would e0en surrender
their names and were always burdened by the risk that their "artners, moti0ated by
market realism and the desire for 1uick returns, would se0erely restrict their autonomy.
:esi(ners like 4erny ,artin struck out on their own to "laces like the 7S ,idwest.
.heir ho"es were to brin( fashion desi(n back to its artisan roots.
See also
Fashion portal
Wikimedia Commons has media related to& Fashion
#ashion
#ashion desi(n
)aute couture
)istory of western fashion
/ist of fashion desi(ners
/ist of fashion to"ics
Sustainable fashion
References
1. 5 6@ucci )istoryA 1DDCs6. @ucci. ;C1;. -etrie0ed <une ;I, ;C1;.
;. 5 64est @lobal 4rands& @ucci6. images=businesswee&=com. ;C1;.
-etrie0ed <une ;I, ;C1;.
Further reading
4reward, Christo"her, "he culture of fashion1 a new histor( of fashionable
ress, ,anchester& ,anchester 7ni0ersity %ress, ;CC?, IS48 DOIACO1DCB1;GD
)ollander, 'nne, Seeing through clothes, 4erkeley& 7ni0ersity of California
%ress, 1DD?, IS48 DOIACG;CCI;?11
)ollander, 'nne, Se+ an suits1 the evolution of moern ress, 8ew 2ork&
5no"f, 1DDB, IS48 DOIACRODB?CDRB
)ollander, 'nne, Feeing the e(e1 essa(s, 8ew 2ork& #arrar, Straus, and
@irou>, 1DDD, IS48 DOIAC?OB;I;C11
)ollander, 'nne, Fabric of vision1 ress an raper( in painting, /ondon&
8ational @allery, ;CC;, IS48 DOIAC?CCCDB1DC
5awamura, 2uniya, Fashion>olog(1 an introuction to Fashion Stuies, !>ford
and 8ew 2ork& 4er(, ;CCG, IS48 1AIGDO?AI1BA1
/i"o0etsky, @illes (translated by Catherine %orter, "he empire of fashion1
ressing moern emocrac(, Woodstock& %rinceton 7ni0ersity %ress, ;CC;,
IS48 DOIACRD11C;R;O
,c:ermott, 5athleen, St(le for all1 wh( fashion, invente b( &ings, now belongs
to all of us (*n illustrate histor(), ;C1C, IS48 DOIACAGGOAG1D1OAC T ,any
handAdrawn color illustrations, e>tensi0e annotated biblio(ra"hy and readin(
(uide
%errot, %hili""e (translated by -ichard 4ien0enu, Fashioning the bourgeoisie1
a histor( of clothing in the nineteenth centur(, %rinceton 8<& %rinceton
7ni0ersity %ress, 1DDB, IS48 DOIACRD1CCCI1O
Steele, 9alerie, ?aris fashion1 a cultural histor( (second edition, re0ised and
u"dated, !>ford& 4er(, 1DDI, IS48 DOIA1IGDO?DO?C
Steele, 9alerie, Fift( (ears of fashion1 new loo& to now, 8ew )a0en& 2ale
7ni0ersity %ress, ;CCC, IS48 DOIAC?CCCIO?I?
Steele, 9alerie, ,nc(clopeia of clothing an fashion, :etroit& .homson @ale,
;CCG
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1BCCY1GCC in fashion
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A
'A; =acket
'Aline
'bacM
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'bacost
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'cademic scarf
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'chkan
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'da"ti0e clothin(
'd=ustableAfocus eye(lasses
'dornment
'f(han (blanket
'f(han Coat
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'fterwear
'(al (accessory
'(let
'(uayo (cloth
'ida cloth
'i(rette
'i(uillette
'i(uillette (ornament
'ikido(i
'=rak
'lasho
'lb
'lbanian hat
'lencon lace
'lice in Wonderland dress
'll o0er "rint
'loha shirt
'l"aca fiber
'ltdeutsche .racht
'mauti
'mice
'mmunition boot
'n(loASa>on dress
'n(ora wool
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'nklet (sock
'nnie )all
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'nthony Eden hat
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'ntistatic (arments
'ntwer" lace
No bs ba
'o dai
No (tm
No tu thvn
'"e> (headdress
'"ostolnik
'""li1uS
'""li1uS lace
'""roach shoe
'"ron
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'ran =um"er
'rch su""ort
'rchducal hat
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'ttic helmet
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'ussies (headwear
'ustralian 'bori(inal fibrecraft
'ustralian #ashion Week
'ustralian work boot
'0 %ak
'0arca (shoe
'0e ,aria lace
'0entail
'0iator hat
'way colours
'yam (ca"
'3tec clothin(
B
4aby slin(
4abydoll
4ack closure
4ackcombin(
4ackless dress
4ack"ack
4a((ies (clothin(
4a((y (reen
4aha( ((arment
4a=a <acket
4a=i (clothin(
4a=u 5urun(
4a=u ,elayu
4akhu
4akya
4alacla0a (clothin(
4aldness
4aldric(k
4al(ha
4all (own
4allerina neckline
4allerina skirt
4allet boot
4allet flat
4allet shoe
4allet tutu
4allistic 0est
4almoral bonnet
4aluchar Sari
4amboo
4anarasi saris
4anbi
4and collar
4andeau
4andhani
4andolier
4ands (neckwear
4an(le
4anyan (clothin(
4a"tismal clothin(
4ar tack
4arathea
4arbute
4aro+t saya
4aron( .a(alo(
4arretina
4arrette
4ascinet
4aseball ca"
4aseball (lo0e
4aseball uniform
4ases (fashion
4ashlyk
4as1ue (clothin(
4ast fibre
4ast shoe
4athin( dress
4athrobe
4atik
4atiste
4atsuit
4attenber( lace
4attin( (lo0e
4attin( helmet
4attle :ress
4attle =acket
4attledress
4ead
4ead crochet
4eadwork
4eanie (8orth 'merica
4earskin
4eatle boot
4ea0er hat
4eca ((arment
4ed =acket
4ed(own
4edford cord
4eetlewin(
4eetlin(
4ei3i
4ekishe
4ell slee0e
4ellAbottoms
4ellAboy hat
4ellAboy =acket
4elly chain
4elt (clothin(
4elt buckle
4elt hook
4elted "laid
4ench shirt
4eon((eo=i
4eoseon
4eret
4er(hre hat
4erlin Iron <ewellery
4ermuda shorts
4ernos
4es"oke
4haadA(aaule
4ias (te>tile
4ib ((arment
4iblical clothin(
4iblical sandals
4icorne
4i( hair
4ikini
4ikini 0ariants
4ilum
4inche lace
4indi (decoration
4indle
4inyeo
4iretta
4irkenstock
4irkin ba(
4irrus
4isho" 'ndrewes ca"
4isht (clothin(
4lack beret
4lack ca"
4lack tie
4lackwork
4lan(kon
4lanket slee"er
4lanket stitch
4la3er
4lin(Ablin(
4londe lace
4loomers (clothin(
4louse
4louson
4lucher shoe
4luecoat
4oardshorts
4oar+s tusk helmet
4oat neck
4oat shoes
4oater
4ob cut
4obbin lace
4obble hat
4obby "in
4obby sock
4obby so>er
4w(wlanfini
4odice
4ody modification
4odystockin(
4odysuit
4oeotian helmet
4ok(eon
4olo tie
4onda(e "ants
4onda(e corset
4one (corsetry
4one lace
4onnet (head(ear
4ook ba(
4oonie hat
4oot
4oot fetishism
4oot =ack
4oot socks
4ootee
4oothose
4oshiya
4oss of the %lains
4oubou (clothin(
4ouclS
4ouffant
4ouffant (own
4outonnihre
4ow tie
4owler hat
4owlin( shirt
4owyan(s
4o>er briefs
4o>er shorts
4o>in( (lo0e
4oyar hat
4oyfriend (fashion
4raccae
4racteate
4raid
4raidin( machine
4raies (under(arment
4rassard
4rassiere
4rassiere measurement
4ra3ilian <iuA<itsu (i
4reathability
4reechcloth
4reeches
4reechin( (boys
4reeks
4re3 (clothin(
4riefcase
4riefs
4ri(andine
4ristle
4ritish #ashion 'wards
4ritish #ashion Council
4ritish Ins"iration 'wards
4roadcloth
4rocade
4roderie 'n(laise
4ro(an (shoes
4ro(ue shoe
4rooch
4roomstick lace
4rothel cree"er
4rowline (lasses
4runswick (clothin(
4russels lace
4ucket hat
4uckle
4uckram
4ucks "oint lace
4uckskin (leather
4uckskins
4udeno0ka
4uff coat
4uffalo coat
4uka cloak
4un (hairstyle
4unad
4unny boots
4unny sli""ers
4ur(onet
4urka (Caucasus
4urnout (clothin(
4urnous
4ur1a
4ur1ini
4usby
4usiness casual
4usk
4uskin
4ustier
4ustle
4ustle (re(alia
4utton
4utton blanket
4uttonhole
4uyer (fashion
4u33 cut
4W)
4ycoket
4yssus
4y3antine chain
4y3antine dress
4y3antine silk
C
Cabba(eAtree hat
Cable knittin(
CacheAcxur
CacheAse>e
Ca(oule
Calenderin(
Calfskin
Calico (te>tile
Cali(ae
Camauro
Cambric
Camel hair
Cameleurion
Camisa blouse
Camisole
Camlet
Camocas
Cam" shirt
Cam"ai(n hat
CanAcan dress
Canadian military fur wed(e ca"
Candlewickin(
Cane"in
Cane3ou
Canterbury ca"
Can0as
Ca"
Ca" (s"ort
Ca" bad(e
Ca" of ,aintenance
Ca"alana
Ca"e
Ca"eline
Ca"irote
Ca"otain
Ca""ello 'l"ino
Ca""ello romano
Ca"ri "ants
Ca"uchon
Caraco
Card enclosure
Cardi(an (sweater
Cardin(
Car(o "ants
Carma(nole
Car"enter =eans
Car"et ba(
Ca"sule wardrobe
Carrickmacross lace
Cashmere wool
Cas1uette
Cas1uette d+'fri1ue
Cassock
Casual
Casual #riday
Casual (subculture
Cat eye (lasses
Catholic school uniform
Catsuit
Caubeen
Caul (head(ear
Caulk boots
Ca0alier boots
Ca0alier hat
Cellulose
Celtic brooch
Ceremonial clothin( in Western cultures
Ceremonial dress
Cer0elliere
Cestus
Chador
Chalcidian helmet
Chamanto
Chamois leather
Cham"ionshi" belt
Chan( kben
Chan(+ao
Chan(shan
Chantilly lace
Cha" boot
Cha"an
Cha"atsu
Cha"eau
Cha"eron (head(ear
Cha"s
Charm bracelet
Charmeuse
Chastity belt
Chasuble
Chatelaine (chain
Chausses
Che @ue0ara in fashion
Cheerleadin( uniform
Cheesecloth
Chef+s uniform
Chelsea boot
Chemise
Chemise ca(oule
Chemisette
Chenille fabric
Cheon(sam
Cheo"=i
Chesterfield coat
Chic (style
Chicken suit
Chiffon (clothin(
Chiffon (fabric
Chi(non (hairstyle
Chikan (embroidery
Children+s clothin(
Chilote ca"
Chilote "oncho
Chima (clothin(
Chima =eo(ori
Chimere
Chinese academic dress
Chinese clothin(
Chino cloth
Chint3
Chiton (costume
Chlamys
Cho(a
Choir dress
Choker
Chokha
Choli
Choora
Cho"ine
Christian clothin(
Christian headco0erin(
Chuba
Chu(ha
Chukka boot
Chullo
Chu"alla
Churidar
Cies3yn folk costume
Cilice
Cincture
Circlet
Clear heels
Cleat (shoe
Clea0a(e (breasts
Clea0a(e enhancement
Clerical clothin(
Clerical collar
Climbin( shoe
Cli"Aon tie
Cloak
Cloche hat
CloseAbodied (own
Close helm
Close helmet
Clothin( fetish
Clothin( in 'frica
Clothin( in ancient E(y"t
Clothin( in ancient @reece
Clothin( in ancient -ome
Clothin( in India
Clothin( in ,auritius
Clothin( in the ancient world
Clothin( in the -a(time Era
Clothin( insulation
Clothin( laws by country
Clothin( material
Clothin( si3es
Clothin( technolo(y
Clothin( terminolo(y
Clo( (4ritish
Clo( (shoe
Clubwear
Clutch ("in fastener
Coat (clothin(
Coat "ocket
Cockade
Cockernonnie
Cocktail dress
Cocktail hat
Coconut =ewelry
Cod"iece
Coif
Coin "urse
Cointoise
Coir
Collar (4:S,
Collar (clothin(
Collar (=ewelry
Collar "in
Collar stays
Colobium sindonis
Colour fastness
Coloured hat
Combat boot
Combin(
Com"ression (arment
Com"ression shorts
Com"ression s"ortswear
Com"ression stockin(s
Concert .Ashirt
Conical 'sian hat
Contem"orary Western weddin( dress
Coolin( 0est
Coolus helmet
Coonskin ca"
Coo"er 'A; =acket
Co"e
Co""ola (ca"
\ora"e
Corduroy
Cork hat
Corinthian helmet
Cornette
Cornrows
Corolla (cha"let
Coronet
Corsa(e
Corsa(e (bodice
Corselet
Corset
Corslet
Cosmetics
Cosmetics in 'ncient -ome
Cosmetics in the 1D;Cs
Cos"lay
Costume
Costume de ri(ueur
Costume =ewelry
Cotton
Cotton duck
Coty 'ward
Council of #ashion :esi(ners of 'merica
Court dress
Court shoe
Court uniform and dress
Courte"y
Coutil
Couturier
Cowboy boot
Cowboy hat
Cowhide
Cowichan knittin(
Cowl
Crakow (shoe
Cra"e
Cra0at
Cretonne
Crew cut
Crew neck
Crew sock
Cricket ca"
Cricket whites
Crinoline
Croatian national costume
Crochet
Crochet thread
Crocheted lace
Cro" (hairstyle
Cro" to"
Cross country runnin( shoes
Cross necklace
Crown (head(ear
Cruise collection
Cuban heel
Cuff
Cufflink
Culottes
Cummerbund
Cu"rammonium rayon
Custodian helmet
Cut and sew
CutAoff
CutAresistant (lo0es
Cutsew
Cutty sark
Cyclin( (lo0e
Cyclin( shoe
Cyclin( shorts
C3a"ka
&
:aen((i
:almatic
:amask
:ance belt
:andy
:an(ui
:ao"ao
:ark ada"tor (o((les
:art (sewin(
:ashiki
:astar
:auraASuruwal
:a>iushan
:Sbutante dress
:Scolleta(e
:eel (clothin(
:eely bobber
:eerskin trade
:eerstalker
:elia (clothin(
:el"hos (own
:enim
:enim skirt
:enison smock
:S" ly"
:erby shoe
:esi(ner clothin(
:esi(ner label
:esi3in(
:etachable collar
:eubrS
:e0ilock
:e0orS
:haka to"i
:hakai
:hoti
:iabetic sock
:iadem
:ia"er
:ia"er ba(
:ickey ((arment
:illyba(
:imity
:i"lomatic uniform
:irndl
:isru"ti0e %attern Combat 7niform
:isru"ti0e %attern ,aterial
:itto suit
:i0in( suit
:iyi
:=ellaba
:oAra(
:obok
:octoral hat
:olly 9arden (costume
:olman
:ol"hin shorts
:omino mask
:one(al tweed
:onkey =acket
:oobon coat
:o"o (clothin(
:o"" kit
:o""a
:ori shoes
:otted Swiss (#abric
:ouble cloth
:oubleAbreasted
:ouble knittin(
:oublet (clothin(
:own feather
:ra( (clothin(
:ra"e suit
:ra"ed (arment
:ra"ery
:rawstrin(
:readlocks
:ress
:ress boot
:ress code
:ress code (Western
:ress of the 2ear
:ress "ants
:ress shirt
:ress shoe
:ress socks
:ress uniform
:ri(lam nam3ha
:rill (fabric
:ri0in( (lo0e
:ri0in( moccasins
:ri3aA4one
:uffel ba(
:uffle coat
:umalla
:umdyam
:um"ra
:unce ca"
:u"atta
:u"ioni
:uruma(i
:ushAtoh
:uster (clothin(
:utch ca"
:utch #ashion 'wards
:uty armband
:wikko=i
:ye
:yein(
E
EAte>tiles
Early medie0al Euro"ean dress
Earmuffs
Earrin(
Easter bonnet
Earth shoe
Edible underwear
Eisenhower =acket
Elastomer
Electric =acket
Ele0ator shoes
Elle Style 'wards
Embroidery
Em"ire silhouette
E8 1?BC;
EndAonAend
Ener(y dome
En(a(eante
En(ineer boot
En(lish medie0al clothin(
En(ol"ion
E"anokamela0kion
E"aulette
E"hod
E"i(onation
E"imanikia
E"isco"al sandals
E"itrachil
E1uestrian helmet
Eri silk
Es"adrille
Ethio"ian coffee dress
Ethio"ian suit
Eton cro"
Etruscan =ewelry
Eun=an(do
E0enin( (lo0e
E0enin( (own
E>erlo"ers
E>omis
E>traocular im"lant
E>treme en0ironment clothin(
Eyelet
Eye"atch
F
#acekini
#acin( (sewin(
#acin( colour
#a((otin( (knittin(
#Minne
#air Isle (techni1ue
#ake fur
#allin( buffe
#alsies
#aluche
#anny "ack
#aroese shawl
#arshi %a=ama
#arthin(ale
#ascia (0estment
#ascinator
#ashion
#ashion accessory
#ashion ci(arettes
#ashion ca"ital
#ashion doll
#ashion entre"reneur
#ashion forecastin(
#ashion ima(es
#ashion in the 7nited States
#ashion law
#ashion matri>
#ashion museum
#ashion "late
#ashion week
#ast fashion
#eather boa
#eather bonnet
#eather cloak
#eather ti(hts
#eatherstitch
#edora
#elt
#erreruolo
#etish fashion
#e3 (hat
#iber
#ibroin
#ibula (brooch
#ichu
#ield si(n
#ilet crochet
#ilet lace
#illet (clothin(
#indin(
#in(er wa0e
#in(erlin( (fin(er accessory
#ishnet
#lak =acket
#lame retardant
#lamenco shoes
#lannel
#lannel 0est
#la""er
#la>
#li(ht =acket
#li(ht suit
#li"Aflo"s
#li"sters
#loatin( can0as
#lockin( (te>ture
#lo((er (fashion
#ly (clothin(
#ly "laid
#ocale
#ofud=a
#olk costume
#ontan(e
#oot bindin(
#ootball boot
#ootwra"s
#ora(e ca"
#ormAfittin( (arment
#ormal .hai national costume
#ormal trousers
#ormal wear
#oulard
#oundation (cosmetics
#oundation (arment
#ourAinAhand knot
#our Winds hat
#outa towels
#ree3y #reakies
#rench braid
#rench hood
#rench knickers
#rench twist (hairstyle
#riendshi" bracelet
#rie3e (te>tile
#rin(e (hair
#rin(e (trim
#rock
#rock coat
#ro( (fastenin(
#ruit hat
#uckAme shoes
#ull dress
#ull "laid
#ullin(
#ully fashioned stockin(s
#undoshi
#urisode
#ur
#ur clothin(
#ursuit
#ustanella
#ustian
)
@A1 military fli(ht =acket
@Astrin(
@abardine
@aberdine
@able hood
@ache
@a(ra choli
@aiters
@a=ra
@Mkti
@alea (helmet
@alero
@alesh
@alloon
@aloshes
@ambeson
@amine
@amosa
@amsbart
@amucha
@amurra
@andhi ca"
@an(uro
@anse cord
@aribaldi shirt
@arot
@artel
@arter (stockin(s
@at (hat
@ather (sewin(
@au(e (knittin(
@aun( baun(
@auntlet ((lo0e
@au3e
@el bracelet
@ene0a (own
@enital =ewellery
@eodeul=i
@eor(ette (fabric
@eote>tiles
@eta (footwear
@eumbak
@hanaian smock
@harara
@hillie shirt
@hillie suit
@hillies (dance
@ho
@zonnella
@hoon(hat
@host shirt
@hun(roo
@I (lasses
@ilet
@im" (thread
@in(ham
@irdle
@irdle book
@irl bo>ers
@i0eh
@ladstone ba(
@lamour ("resentation
@lass fiber
@lasses
@len "laid
@len(arry
@lossary of dyein( terms
@lossary of sewin( terms
@lossary of te>tile manufacturin(
@lossary of te>tile terminolo(y
@lo0e
@lo0e (ice hockey
@oA(o boot
@oatskin (material
@odet (sewin(
@o((le =acket
@o((les
@oin( commando
@oldAfilled =ewelry
@olden hat
@omesi
@omusin
@onryon("o
@ook (head(ear
@ore (se(ment
@oreA.e>
@or(et
@ota Work
@othic fashion
@own
@owni
@rameen Check
@randfather shirt
@ranny s1uare
@rass skirt
@reatcoat
@reat helm
@recian bend
@reek 'rmy uniforms
@reek fisherman+s ca"
@reen beret
@reen eyeshade
@reen =ersey
@renadine (cloth
@rill (=ewelry
@rommet
@ros(rain
@rotul=a
@uayabera
@uernsey (clothin(
@u(el
@uim"e
@ulle
@usset
@wanbok
@yaru
@ymnasterka
@ymsli"
%
)aa"salu shawl
)abesha kemis
)achimaki
)ackle
)ada(i
)aferlschuh
)air crim"in(
)air dro"
)air =ewellery
)air stick
)air tie
)airnet
)air"in (fashion
)air"in lace
)akama
)alfAWindsor knot
)alterneck
)ammer "ants
)an Chinese clothin(
)anbok
)and knittin(
)andba(
)andkerchief
)andkerchief skirt
)anfu mo0ement
)an(aroc
)anten
)a""i
)aramaki (clothin(
)ard hat
)ardee hat
)arem "ants
)arrin(ton =acket
)arris tweed
)at
)at 'ct
)at ta>
)at"in
)atstand
)auberk
)aute couture
)a0ersack
)ead tie
)eadband
)ead(ear
)ead(ear (martial arts
)ead"iece
)eadscarf
)eated clothin(
)eather (fabric
)eel (shoe
)eelys
)e=a3i turban
)elmet
)elmet (cricket
)em
)emline
)emline inde>
)em"
)em" =ewelry
)enley shirt
)ennin
)errin(bone (cloth
)essian (boot
)i(hAlow skirt
)i(hAtechnolo(y swimwear fabric
)i(hAto"
)i(hA0isibility clothin(
)i(hland dress
)i=ab
)i=ab by country
)ikin( boot
)imation
)ime cut
)i" and buttock "addin(
)i" boot
)i"Aho" fashion
)i"Ahu((ers
)istory of brassieres
)istory of clothin( and te>tiles
)istory of corsets
)istory of =ewelry in 7kraine
)istory of knittin(
)istory of silk
)istory of suits
)istory of the bikini
)istory of the kilt
)nyatA"hanat
)obble skirt
)obnail
)obo ba(
)ockey helmet
)ockey "ants
)o(eon
)olbeines1ue =ewellery
)oldAu"s
)oldall
)olland cloth
)ombur( (hat
)_mon(i
)oneycomb
)on(reline
)oniton lace
)ood (head(ear
)oodie
)ookAandAeye closure
)oo" skirt
)ornArimmed (lasses
)orned helmet
)orsehair
)ose (clothin(
)osiery
)oundstooth
)ounskull
)ou""elande
)our(lass corset
)o>ton knot
)uarache (runnin( shoe
)uarache (shoe
)ui"il
)umeral 0eil
)wa
)wa(wan
)warot
)y"ercolor
I
Ice skate
Icelandic national costume
Icelandic tailAca"
Ihram clothin(
Ikat
Ilkal saree
Illyrian ty"e helmet
Im"erial helmet
Im"erial <a"anese 'rmy 7niforms
Im"erial yellow =acket
Inline skate
Insolia
Indian weddin( clothes
Indi(o dye
IndoAWestern clothin(
Infant bodysuit
Infant+s binder
Informal attire
Intarsia (knittin(
Interfacin(
International 4est :ressed /ist
In0erness ca"e
In0erness coat
Irish clothin(
Irish lace
Irish linen
IronAon
It 4a( Q
Italian charm bracelet
Isia(u
Islam and clothin(
Islamic dress in Euro"e
I3aar
.
<aa"i
<abot (neckwear
<ackboot
<acket
<acket la"el
<ac1uard
<ama0ar
<amdani
<an(ot
<a"anese armour
<a"anese clothin(
<a"anese school uniform
<a3erant
<a33 shoe
<eans
<ee" ca"
<e((in(s
<elebiya
<elick
<ellabiya
<elly shoes
<eo(ori
<eonbok
<eon(=a(wan
<erkin ((arment
<ersey (clothin(
<ersey (fabric
<et (li(nite
<ewellery
<ewellery in the %acific
<ewelry desi(n
<ewish hat
<ewish reli(ious clothin(
<ilb{b
<ikaAtabi
<inbei
<in(le dress
<i"sin
<ob skirt
<obawi
<ockstra"
<odh"ur boot
<odh"uri
<odh"urs
<_e
<okduri
<orabs
<ubba
<udo(i
<u=utsu(i
<uliet ca"
<um" boot
<um" smock
<um"er (dress
<um"soles
<um"suit
<|nihitoe
<u"e (=acket
<ussishirt
<ustacor"s
<ute
<utti
/
5abney
5acchera
5aftan
5ala(hai
5alamkari
5alima0kion
5amleika
5anchi"uram Sari
5an(a ('frican (arment
5antha
5anthi ,ala
5an3ashi
5al"ak
5an3u
5a"a
5a""_(i
5arakul (hat
5arate belts
5arate (i
5ariba suit
5ariyushi shirt
5aross
5ar0alakki
5asa (hat
5asaya (clothin(
5ashket
5asket
5asta sari
5asuti
5ateAbukuro
5ate ,iddleton effect
5ausia
5ebaya
5effiyeh
5e(elhelm
5eiko(i
5em" (wool
5ente cloth
5e"i
5erchief
5erseymere
5esh (Sikhism
5eski
5ettle hat
5h{d}
5haki
5haki drill
5halat
5h~n rn
5handua
5hara :u"atta
5hata
5hmer clothin(
5ho (costume
5iahan (kyahan
5idan )abesha
5idney belt
5iekie (clothin(
5i=_kaAbash_fu
5ilt
5ilt accessories
5ilt "in
5imono
5inky boots
5iondo
5i""ah
5i""er tie
5ira (4hutan
5irtle
5ir3a
5iten(e
5ittel
5itten heel
5itty #oyle (dress
5kachi duruma(i
5lom"
5lobuk
5neeAhi(h boot
5nee hi(hs
5nickerbockers (clothin(
5nitted fabric
5nittin(
5nochensack
5ofia (hat
5okoshnik
5olha"uri cha""al
5ol"ik
5ol"os
5onos (helmet
5ontus3
5orean school uniform
5osa silk
5osode
5oso0orotka
5ota :oria
5oteka
5oto (traditional clothin(
5oukoulion
5ow"eenam
5o3hukh
5o3hushanka
5rama
5ro=e
5ubi bukuro
5ufi
5umihimo
5umkum
5undan
5u"iah
5urdish clothin(
5urta
5urtka
5uta (clothin(
5utham"ully Saree
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/ace
/ace wi(
/acrosse (lo0e
/amba ((arment
/ambswool
/amS (fabric
/an(a oni
/an(ota
/a"Ala"
/a"el "in
/a""et
/ate -oman rid(e helmet
/ate> clothin(
/aticla0e
/aundry
/aundry symbol
/aurel wreath
/a0aAla0a
/a0alier
/awn cloth
/ayered clothin(
/ayered hair
/ayette
/e Smokin(
/eadin( strin(s
/eather
/eather helmet
/eather =acket
/eather skirt
/ederhosen
/e( warmer
/e((in(s
/e(skin
/ehen(a Style Saree
/ei ((arland
/hine bhsn
/eisure suit
/ensless (lasses
/etterman (s"orts
/iberty bodice
/iberty s"ikes
/i(htwei(ht -ucksack
/ika ca"
/imerick lace
/inen
/inen clothes
/in(erie
/in(erie ta"e
/inin( (sewin(
/i1ui li1ui
/iri"i"e
/ist of brassiere desi(ns
/ist of crochet stitches
/ist of )an Chinese clothin(
/ist of head(ear
/ist of 5orean clothin(
/ist of ty"es of fur
/ist of ty"es of sartorial hi=ab
/ist of World War II uniforms and clothin(
/ist of yarns for crochet and knittin(
/ittle black dress
/ittle /ord #auntleroy
/i0ery
/i0ery collar
/lauto
/ock rin(
/ock stitch
/ockin( clothin(
/oculus (satchel
/oden ca"e
/oincloth
/olita fashion
/ondon #ashion Week
/on( hair
/on(Aslee0ed .Ashirt
/on( underwear
/on(cloth
/on(yi
/ookbook
/oom
/oose socks
/o"a"eysa
/ord 'nthony
/or(nette
/otus shoes
/o0e beads
/ow cut sock
/owArise =eans
/uckenbooth brooch
/u(ade
/uhkka
/un(i
/ure> (yarn
/usekofte
/u> Style 'ward
/uyet
/yocell
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,A1DB1 #ield <acket
,A1DG1 field =acket
,A1DRG field =acket
,B; =acket
,B? field ca"
,DI battle uniform
,'A1 bomber =acket
,'A; bomber =acket
,acaroni (fashion
,ackinaw cloth
,ackintosh
,acramS
,ade to measure
,adiba shirt
,adisar
,adras (cloth
,adras (costume
,a(netic boots
,a(o=a
,ahiole
,ail (armour
,aillot
,akara"a
,alaysian batik
,alaysian cultural outfits
,alaysian school uniform
,ale bra
,alon(
,andarin collar
,andarin s1uare
,an(alsutra
,an((eon
,'8@! #ashion 'wards
,andilion
,anila shawl
,anillas
,ani"le (0estment
,anta (dress
,antelletta
,antilla
,antle (clothin(
,antle (0esture
,antua (clothin(
,antyhose
,ao suit
,{ori traditional te>tiles
,arcasite =ewellery
,arcellin(
,aria Clara (own
,aroon beret
,ask
,ary <ane (shoe
,atchyA,atchy
,atelassS
,aternity clothin(
,atron+s bad(e
,awashi
,a>i dress
,aya te>tiles
,echanical watch
,echlin lace
,edebeli
,edical ba(
,edical (lo0es
,edical identification ta(
,edicine ba(
,edie0al =ewelry
,ekhela chador
,emorial 4racelets
,en+s skirts
,en(u (<a"anese facial armour
,ercerised cotton
,erino
,esh
,ess dress
,ess =acket
,essen(er ba(
,etal corset
,etallic fiber
,e>ican "ointy boots
,icrofiber
,icroskirt
,idriff
,ilan #ashion Week
,ilitary beret
,inaudihre
,iner+s a"ron
,iner+s ca"
,iner+s habit
,in( official headwear
,inin( helmet
,iniskirt
,ini0er
,ink
,irrored sun(lasses
,isan(a
,itre
,it3nefet (Israeli military
,i>ed martial arts clothin(
,ob ca"
,obile "hone charm
,occasin
,ockado
,od (subculture
,odacrylic
,odern dress
,odern (irl
,odern Irish 'rmy uniform
,odius (headdress
,ohair
,ohra (necklace
,oire (fabric
,o=ari
,ohawk hairstyle
,oleskin
,oney ba(
,oney belt
,oney cli"
,onk+s cloth
,onk shoe
,onkey =acket
,onmouth ca"
,onocle
,onokini
,ontefortino helmet
,ontene(rin ca"
,ontera
,ontera "icona
,oon 4oot
,ooska""e
,ordant
,orion (helmet
,ornin( dress
,orocco leather
,or"hsuits
,other )ubbard dress
,otley
,otorcycle boot
,otorin( hood
,ountaineerin( boot
,ounteere Ca"
,ournin(
,uff (handwarmer
,ufti (dress
,ukluk
,ule (footwear
,ullet (haircut
,ultiA.errain %attern
,undu
,undum 8eriyathum
,uscadin
,ushanana
,uslin
,uuAmuu
,yeonbok
,yeon=e bae(ab
,ysore %eta
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8abedrennik
8a(a shawl
8ainsook
8akshi kantha
8amaksin
8amba (clothin(
8ambawi
8ankeen
8anofiber
8antucket -eds
8a" (te>tile
8a"a leather
8asal helmet
8ational costumes of %oland
8ationella drkten
8ati0e 'merican =ewelry
8atural dye
8atural fiber
8a3i chic
84' dress code
8eck corset
8eck (aiter
8eck rin(
8eckerchief
8ecklace
8eckline
8ecktie
8eckwear
8eedle"oint
8e(li(ee
8ehru =acket
8eiman ,arcus #ashion 'ward
8emes
8eo"rene
8et (te>tile
8etela
8ew bes"oke mo0ement
8ew 2ear+s (lasses
8ew 2ork #ashion Week
8ewsboy ca"
8e3ela
8i(htca" ((arment
8i(ht(own
8i(htshirt
8inon
8i1{b
8i1{b in E(y"t
8oil
8Ln 1uai thao
8onwo0en fabric
8ori(ae
8orfolk =acket
8oseA=ewel
8ose "iercin(
8ose(ay
8ubuck
8urse uniform
8urse+s ca"
8ursin( bra
8ylon
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!bi (martial arts
!bi (sash
!biAita
!chi"ok
!ha(uro
!ilskin
!lefin fiber
!me(a chain
!mo"hor
!neA"iece swimsuit
!nnara
!"anak
!"enAcrotch "ants
!"en drawers
!"era coat
!"in(a
!rarion
!renbur( shawl
!r(an shoes
!r(andy
!r(anic clothin(
!r(anic cotton
!r(an3a
!strich leather
!ttoman (te>tile
!ttoman clothin(
!uterwear
!0en (lo0e
!0erAtheAknee boot
!0erall
!0ercoat
!0erfrock
!0erskirt
!>ford (cloth
!>ford ba(s
!>ford shoe
%aambadam
%aduasoy
%aduka
%aenula
%a(eboy
%ahla0i hat
%a(ri (turban
%aisley (desi(n
%aithani
%a=amas
%akistani clothin(
%akol
%ala33o trousers
%alestinian costumes
%alla ((arment
%allium
%aludamentum
%am"ootie
%anama hat
%an(i (,aroon
%anlin( /anshan
%annier (clothin(
%antalettes
%anties
%ants
%antsuit
%anty line
%antyhose
%antyhose for men
%a"akhi
%a"al fanon
%a"al shoes
%a"al Sli""ers
%a"al tiara
%a"er clothin(
%a"oose
%arachute "ants
%aran=a
%areo
%aris #ashion Week
%arty dress
%arty hat
%arure
%as kontus3owy (sash
%asa"ali Sari
%ashmina
%ashtun dress
%asikin(
%assementerie
%asties
%atchwork
%atent leather
%atiala salwar
%atrol ca"
%atten (shoe
%attern (radin(
%attern (sewin(
%attu "a0adai
%ea coat
%eaked ca"
%ectoral ('ncient E(y"t
%ectoral cross
%edal "ushers
%ee"Atoe shoe
%eineta (comb
%elisse
%el0ic "rotector
%encil skirt
%encil suit
%endilia
%e"los
%e"lum (disambi(uation
%e"lum =acket
%erak (headdress
%eranakan beaded sli""ers
%ercale
%ersian clothin(
%ersian embroidery
%ersian hat
%ersian wea0e
%ersonal Clothin( System
%ersonal "rotecti0e e1ui"ment
%eshawari cha""al
%etasos
%eter %an collar
%etersham ribbon
%etite si3e
%etticoat
%etticoat breeches
%etti"ants
%hat "ants
%helonion
%heta (turban
%hoeni> crown
%hra 5iao
%hry(ian ca"
%hry(ian ty"e helmet
%hulkari
%hysical trainin( uniform
%iccadill
%icnic hat
%icot
%ien #u
%i(tail
%ile (te>tile
%ile wea0e
%ileus (hat
%il(rim+s hat
%ill (te>tile
%illbo> hat
%ima cotton
%inAback button
%in stri"es
%ia
%inafore
%inceAne3
%inkin( shears
%i"in( (sewin(
%i1uS
%ith helmet
%i>ie cut
%lacket
%la(ue doctor costume
%laid ("attern
%lain dress
%lain wea0e
%lastic clothin(
%lastic "ants
%late armour
%latform boot
%latform shoe
%laysuit (children+s clothin(
%laysuit (lin(erie
%leat
%led(e "in
%limsoll shoe
%lus fours
%lusAsi3e clothin(
%lush
%o (clothin(
%ocket
%ocket "rotector
%ocket watch
%od0orotnichok
%oet shirt
%oint de 9enise
%ointe shoe
%ointed hat
%ointed shoe
%ointinini
%oke bonnet
%olar fleece
%olice duty belt
%olice uniforms and e1ui"ment in the 7nited 5in(dom
%olitical tAshirt
%olitical uniform
%olka dot
%ollera
%olo neck
%olo shirt
%olonaise (clothin(
%olos
%olyester
%oly"ro"ylene
%omA"on
%om"adour (hairstyle
%oncho
%on(ee
%ontifical 0estments
%onytail
%oodle skirt
%o"lin
%ork "ie hat
%ortmanteau (lu((a(e
%ossumAskin cloak
%!W bracelet
%ower dressin(
%rairie skirt
%ram suit
%ratt knot
%rayer shawl
%re""y
%residential sash
%riestly robe (<udaism
%riestly sash
%riestly tunic
%riestly turban
%riestly under(arments
%rince 'lbert "iercin(
%rincess seams
%rinted .Ashirt
%rinter+s hat
%rison uniform
%ri0ilh(e du blanc
%ro0ence
%teru(es
%uddin( hat
%uletasi
%uneri %a(adi
%un(cha
%urdah
%urse
%urse hook
%uttee
2
$eleshe
$in( official headwear
$uadrille dress
$ueue (hairstyle
$uiff
$uiltin(
$uoit (brooch
R
-abbit hair
-accoon coat
-acin( flat
-affia "alm
-a(lan slee0e
-ahArah skirt
-ain "ants
-aincoat
-a= "attern
-a=shahi silk
-akusu
-ally ca"
-amie
-andoseru
-ash (uard
-astaca"
-ationale (clothin(
-awhide (te>tile
-ayadillo
-ayon
-eadyAtoAwear
-ebo3o
-ecyclin(
-ed beret
-ed car"et fashion
-ed coat (4ritish army
-ed Sea ri(
-edin(ote
-edresseur corset
-eimiro
-ekel
-eli(ious attire
-eli(ious clothin(
-eli(ious habit
-esist dyein(
-esort wear
-eticella
-e0ers
-e0ersible (arment
-hine(ra0es
-hinestone
-ibbin( (knittin(
-ibbon
-ibbon work
-ickrack
-idin( boot
-idin( habit
-idin( ,ac #ashion
-i((er boot
-i(ht to clothin(
-iha ((arment
-imless eye(lasses
-in( (=ewellery
-in( si3e
-in(er .Ashirt
-in(let (haircut
-i"sto"
-oach (headdress
-obe
-obe de style
-ochet
-ocker bottom shoe
-o(atywka
-oller "rintin( on te>tiles
-oller shoes
-oller skate
-omanian dress
-om"er suit
-ondel (armour
-osemount Ski 4oots
-oyal 'ir #orce uniform
-oyal 8a0y uniform
-uby sli""ers
-uana
-ubber (lo0e
-ubber "ants
-uff (clothin(
-uffle
-u(by shirt
-u(by shorts
-u(by socks
-um{l
-unnin( shorts
-u1un
-ussian boot
S
Sabaton
Sable
Sabot (shoe
Sabretache
SackAback (own
Saddle shoe
Saekdon(ot
Safari =acket
Safari suit
Sa((in( (fashion
Sa(um
Sa(yusam
Sailcloth
Sailor ca"
Sailor suit
a=kaa
Sakkos
Salako
Salakot
Sallet
Saltwater sandals
Sam 4rowne belt
Sambal"uri saree
Samite
Sam"ot
Sam"ot Samloy
Samue
Sanbenito
Sandal
Sanfori3ation
San(u (armour
SansAculottes
Santa suit
Sarafan
Saran ("lastic
Sari
Saron(
Sar"ech
Sash
Satchel (ba(
Sateen
Satin
Satin wea0e
Satlada
Sauna suit
Sa0ile -ow
Sbai
Sca"ular
Scarf
School uniform
School uniforms in En(land
School uniforms in Sri /anka
ScissorsA(lasses
Sco((er
Scoo" neck
Scrambled e(( (uniform
Screen "rintin(
Scrimma(e 0est
Scrubs (clothin(
Scrum ca"
Scrunchie
Sea silk
Seaboot
SeeAthrou(h clothin(
Seersucker
Sehra
Selburose
SelfAfabric
Sel0a(e
SemiAcasual
SemiAformal
Sene(alese kaftan
Senninbari
Sennit
Senufo 4ird
Se1uin
Sera"e
Serbian national costume
Ser(e
Sericin
SetAsaree
Setesdalsbunad
S(ianAdubh
Shadbelly
Sha(reen
Shahmina
Shahtoosh
Shako
Shalwar kamee3
Shalu (sari
Shahmina
Shank (footwear
Sharkskin
Sharo0ary
Shawl
Shearlin(
Shearlin( coat
Sheath dress
Shee"skin
Shee"skin boots
Sheer fabric
Sheitel
Shell cordo0an
Shell (or(et
Shell =acket
Shell stitch
Shendyt
Shenyi
Sherwani
Shetland wool
Shin(le bob
Shinobi sh_3oku
Shiraro
Shiri3aya
Shirrin(
Shirt
Shirt stays
Shirt stud
Shirtdress
Shisha (embroidery
Shita(i
Shmar=et
Shoe
Shoe buckle
Shoe si3e
Shoe tree
Shoehorn
Shoelace knot
Shoelaces
Shoemakin(
Shorts
Shot silk
Shoulder "ads
Shoulder "ads (fashion
Shoulder stra"
Shower ca"
Sh"it3el
Shru( (clothin(
Shtreimel
Shutter Shades
ibenik ca"
Side ca"
Si(n lan(ua(e (lo0e
Sikh chola
Silambu
Silhouette
Silk
Simar
Sindhi ca"
Sin(leAbreasted
Sirwal
Sisal
Si3e 3ero
Skate shoes
Skeleton suit
Ski boot
Ski helmet
Ski suit
Skirt
Skort
Skufia
Sla" bracelet
Slee0e
Slee0e (arter
Slee0ed blanket
Slee0eless shirt
Slide (footwear
SlimAfit "ants
Slin( ba(
Slin(back
Sli" (clothin(
Sli"Aon shoe
Sli""er
Slouch hat
Slouch socks
Small knot
Smart casual
SmockAfrock
Smock %arachutist :%,
Smockin(
Smokin( ca"
Smokin( =acket
Sna" fastener
Sna"back (hat
Sneakers (footwear
Snood (head(ear
Snow boot
Snowboardin( =acket
Snowboardin( "ants
Snowshoe
Social im"act of thon( underwear
Sock
Sokutai
Sombrero
Sombrero calaSs
Sombrero cordobSs
Sombrero de catite
Sombrero 9ueltiao
Sone"uri Sari
Son( official headwear
Son(ket
Son(kok
Soutache
South 'merican fashion
S"a(hetti stra"
S"ande>
S"an(enhelm
S"anish breeches
S"ats (footwear
S"ectator shoe
S"eedsuit
S"encer (clothin(
S"innin( (te>tiles
S"littermuster
S"odik
S"ool heel
S"oon busk
S"orran
S"ort coat
S"orts bra
S"orts 0isor
S"ortswear (acti0ewear
S"ortswear (fashion
S"ran(
S"ur
S1uare academic ca"
S1uare le( suit
St. .ro"e3 belt
Stab 0est
.he Stackhat
Starter =acket
Station wear
Staycli"
Steek
SteelAtoe boot
Stetson
Sticharion
Stiletto heel
Stirru" "ants
Stock tie
Stockin(
Stola
Stole (shawl
Stole (0estment
Stomacher
Stormy 5romer ca"
Stra"
Stra"less dress
Straw
Straw hat
Street fashion
Strin( ba(
Stri"wea0e
Stroller (style
Student ca"
Student o0erall
Stum" sock
Style line
Style tribe
ubara
Subli(aculum
Suea khrui
Suede
Suit (clothin(
Sum"tuary law
Sun hat
Sundress
Sun(lasses
Su"ermodel
Surcin(le belt
Surcoat
Sur"lice
Surtout
Sus"enders
Sustainable fashion
Swaddlin(
Sweater
Sweater desi(n
Sweater (irl
Sweater 0est
Sweat"ants
Swedish (o((les
Swedish ,ilitary 7niform
Swim briefs
Swim ca"
Swim dia"er
Swimsuit
Synthesis (clothin(
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.A4ar Sandals
.Ashirt
.Askirt
.a+o0ala
.abard
.abi
.actel
.actical "ants
.affeta
.a(elmust
.ailcoat
.ainia (costume
.akchita
.allit
.ally (ca"
.am o+ Shanter (ca"
.ambour lace
.an beret
.an( official headwear
.an(a (clothin(
.an((eon
.an(3huan(
.anker boot
.ankini
.antour
.a" "ants
.a"a cloth
.a"estry crochet
.a"is (%hili""ine clothin(
.a1iyah (ca"
.aran(a (clothin(
.artan
.ascu (ca"
.assel
.atami (<a"anese armour
.attin(
.attooin(
.au robe
.ea (own
.eddy ((arment
.fui
.elnyashka
.elo(reika
.embel hat
.em"le (arment
.em"le rin(
.em"le robes
.eneriffe lace
.en(ura
.ent dress
.errycloth
.e>tile "rintin(
.e>tiles and dresses of 'ssam
.haar
.hai fisherman "ants
.hali necklace
.hawb
.hSvtre de la ,ode
.hi(hAhi(h boots
.hird =ersey
.hon( (clothin(
.hracian clothin(
.hread count
.hree 1uarter "ants
.hrowback uniform
.iara
.ichel
.ie chain
.ie cli"
.ieAdye
.ie "in
.i(erAhead shoes
.i(erstri"e
.i(ht trousers
.i(htlacin(
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.i(non
.ilfi
.ilmstli
.imeline of clothin( and te>tiles technolo(y
.i""et
.ito0ka (ca"
.obi trousers
.oe clea0a(e
.oe ti(hts
.oe socks
.oe(o
.o(a
.oile
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.omesode
.nder lace
.onsure
.o" (clothin(
.o" hat
.o"ee
.o"i (ca"
.o"i (disambi(uation
.o"or (head(ear
.o1ue
.orc
.orchon lace
.orsolette
.ote ba(
.ou"Se
.ou"ha
.rabea
.racht
.rack s"ikes
.racksuit
.radin( =acket
.raditional 'lbanian clothin(
.raditional dyes of the Scottish )i(hlands
.raditional Welsh costume
.rain (clothin(
.rainin( bra
.rainin( corset
.ra=e de flamenca
.ra=e de luces
.ra""er (ice hockey
.rashion
.ra0el "ack
.re((in(
.rench boot
.rench coat
.ressoir
.rews
.ricana "o0eira
.ricorne
.ri(la0ka
.rilby
.rim (sewin(
.roentor" Clo(s
.rousers
.rucker hat
.runks (clothin(
.sarouhi
.su=i(ahana
.sunokakushi
.ube to"
.ubeteika
.udon(
.udor bonnet
.ulle bi telli
.ulle nettin(
.unic
.unica molesta
.unicle
.unisian crochet
.u"enu
.u1ue
.urban
.urkish trousers
.urnshoe
.ussar
.u>edo
.weed (cloth
.will
.winset
.y"e CO
.y"e DO Ser0ice :ress
.yrolean hat
.3it3it
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7(( boots
7chiAbukuro
75 /in(erie 'wards
7krainian embroidery
7krainian wreath
7lster coat
7ltra sheer
7ltrasuede
7mbrella
7mbrella )at
7nder(arment
7nder"ants
7ndershirt
7nderwear as outerwear
7nderwire bra
7niform
7niform ((ymnastics
7niform beret
7niforms of /a @rande 'rmSe
7niforms of the 'merican Ci0il War
7niforms of the Confederate States military forces
7niforms of the Sin(a"ore %olice #orce
7nion suit
7nise> dress
7nit Colour %atch
7nitard
7"do
7"turned collar
7S standard clothin( si3e
7sekh collar
7shanka
7tility clothin(
7tility co0er
7ttariya
7waAobi
7wabaki
7wa(i
4
9alenciennes lace
9alenki
9ambrace
9anity si3in(
9at dye
9eil
9eilkini
9elcro
9eldskoen
9elour
9el0et
9el0eteen
9enetian style shoe
9ent (tailorin(
9est
9estment
9ibram #i0e#in(ers
9ictorian dress reform
9ictorian fashion
9icua
9ietnamese clothin(
9ira(o slee0e
9iscose
9isor
9ista 'll .errain %attern
9iyella
9o %huc
9oile
9yshy0anka
5
Waders (footwear
Wa>ed =acket
Waist (clothin(
Waist cincher
Waistcoat
Waistline (clothin(
Walk shorts
Wallet
Wallet band
War bonnet
Wara=i
Wardrobe (clothin(
War" knittin(
War" "rintin(
War" (wea0in(
Was" waist
Watch
Water "olo ca"
Water shoe
Webbed belt
Wearable art
Wearable technolo(y
Wea0in(
Weddin( dress
Weddin( sari
Weft
Wei(hted silk
Wellin(ton boot
Welsh hat
Welt (shoe
Western cosmetics in the 1DOCs
Western wear
Wetsuit
Wetsuit boots
Whale tail
Whi"cord
White clothin( (reli(ious
White coat
White tie
Wide le( =eans
Wi(
Wild silk
Willy warmer
Wim"le
Windbreaker
Wind"roof smock
Windsor knot
Windsor uniform
Wine country casual
Win(s (haircut
Winkle"icker
Wo((le
Women wearin( "ants
Women+s clothin( in China
Women+s o0ersi3ed fashion in the 7nited States since the 1D;Cs
Won=u (4hutan
Wonsam
Woodblock "rintin( on te>tiles
Wool
W]rishofer
World War II @erman uniform
Worsted
Wo0en fabric
Wra" (clothin(
Wra" dress
Wra""er (clothin(
Wreath (attire
Wrestlin( shoe
Wrestlin( sin(let
Wristband
6
Vha1ete
7
2ak lace
2an((wan
2arn
2ashmak
2m
2o(a "ants
2oke (clothin(
2uanlin(shan
2ukata
8
Hardo3i
Hari
Ha3ou
Hentai
He"hyr ((arment
He"hyr cloth
He"hyrina <u"on
Hhiduo (clothin(
Hibellino
Hierscheibe
Hi""er
Hone (0estment
Honnar
Hoot suit
H_ri
Hoster (costume
Houa0e
Houa0e =acket
Hucchetto
u"an
Huria
See also
/ist of (rands couturiers
htt"&**www.metmuseum.or(*toah*hd*"oir*hda"oir.htm
%aul %oiret (1IODY1DBB
.hematic Essays
4y Cate(ory
-ecent 'dditions
'll .hematic Essays
'frican 'rt
'merican 'rt
'ncient 8ear Eastern 'rt
'rt of the 'mericas
'sian 'rt
4y3antine 'rt
E(y"tian 'rt
Euro"ean 'rt
-enaissance
Se0enteenth E Ei(hteenth Centuries
8ineteenth Century
.wentieth Century
@reek and -oman 'rt
Islamic 'rt
,edie0al 'rt
,odern and Contem"orary 'rt
!ceanic*%acific 'rt
%rehistory
4y @eo(ra"hical -e(ion E .ime %eriod
4y :e"artment
9iew Slideshow
E0ery decade has its seer or sybil of style, a desi(ner who, abo0e all others, is able to
di0ine and define the desires of women. In the 1D1Cs, this oracle of the mode was %aul
%oiret, known in 'merica as 6.he 5in( of #ashion.6 In %aris, he was sim"ly /e
,a(nifi1ue, after SUleyman the ,a(nificent, a suitable soubri1uet for a couturier who,
alon(side the allA"er0asi0e influence of Ser(ei :ia(hile0+s 4allets -usses, em"loyed the
lan(ua(e of orientalism to de0elo" the romantic and theatrical "ossibilities of clothin(.
/ike his artistic confrere /Son 4akst, %oiret+s e>otici3ed tendencies were e>"ressed
throu(h his use of 0i0id color coordinations and eni(matic silhouettes such as his iconic
6lam"shade6 tunic and his 6harem6 trousers, or "antaloons. )owe0er, these orientalist
fantasies (or, rather, fantasies of the !rient ha0e ser0ed to detract from %oiret+s more
endurin( inno0ations, namely his technical and marketin( achie0ements. %oiret
effecti0ely established the canon of modern dress and de0elo"ed the blue"rint of the
modern fashion industry. Such was his 0ision that %oiret not only chan(ed the course of
costume history but also steered it in the direction of modern desi(n history.
In %aris, he was sim"ly /e ,a(nifi1ue, a suitable soubri1uet for a couturier who
em"loyed the lan(ua(e of orientalism to de0elo" the romantic and theatrical
"ossibilities of clothin(.
-elated
.imelines (O
%rimary .hematic Essays (G
!ther .hematic Essays (;C
,a"s (B
Inde> .erms (;C
Share
%oiret+s route into couture followed the common "ractice of sho""in( around one+s
drawin(s of ori(inal fashion desi(ns. )is efforts were rewarded in 1IDI, when the
couturihre ,adeleine ChSruit bou(ht twel0e of his desi(ns. In the same year, he be(an
workin( for <ac1ues :oucet, one of the most "rominent couturiers in %aris. 'ccordin(
to %oiret+s memoirs, ,y #irst #ifty 2ears (1D?1, the first desi(n he created for the
house was a red wool cloak with (ray cr"e de chine linin( and re0ers, which sold BCC
co"ies. 4ut it was a mantle he made for the actress -S=ane in a "lay called Ha3a that
would secure his fame. 7sin( the sta(e as a runway was to become a ty"ical strate(y of
%oiret+s marketin( "ractices, enablin( him to "resent his most a0antA(arde creations.
.he mantle was of black tulle o0er a black taffeta that had been "ainted by 4illotey,
then a famous fan "ainter, with lar(e white and mau0e irises. In %oiret+s words, 6'll the
sadness of a romantic dSnouement, all the bitterness of a fourth act, were in this soA
e>"ressi0e cloak, and when they saw it a""ear, the audience foresaw the end of the
"lay . . .henceforth, I was established, che3 :oucet and in all of %aris.6 4y the time he
left :oucet in 1DCC to fulfill his military ser0ice, %oiret had risen to become head of the
tailorin( de"artment.
In 1DC1, %oiret =oined the )ouse of Worth, where he was asked to create what @aston
Worth (the son of Charles #rederick Worth, the e"onymous founder called 6fried
"otatoes,6 sim"le, "ractical (arments that were side dishes to Worth+s main course of
6truffles,6 o"ulent e0enin( and rece"tion (owns. !ne of his 6fried "otatoes,6 a cloak
made from black wool and cut alon( strai(ht lines like the kimono, "ro0ed too sim"le
for one of Worth+s royal clients, the -ussian "rincess 4ariatinsky, who on seein( it
cried, 6What horrorW with us, when there are low fellows who run after our sled(es and
annoy us, we ha0e their heads cut off, and we "ut them in sacks =ust like that.6 )er
reaction, howe0er, "rom"ted %oiret to found his own maison de couture in 1DC? at G rue
'uber. /ater, in 1DCR, he mo0ed his atelier to ?O rue %as1uier, and then, in 1DCD, to D
a0enue d+'ntin. .wo years later, he established a "erfume and cosmetics com"any
named after his eldest dau(hter, -osine, and a decorati0e arts com"any named after his
second dau(hter, ,artine, both located at 1CO #aubour( SaintA)onorS. In so doin(, he
was the first couturier to ali(n fashion with interior desi(n and "romote the conce"t of a
6total lifestyle.6
While %oiret learned his craft at two of the oldest and most re0ered couture houses, he
s"ent his first decade as an inde"endent couturier not only breakin( with established
con0entions of dressmakin(, but sub0ertin( and e0entually destroyin( their underlyin(
"resum"tions. )e be(an with the body, liberatin( it first from the "etticoat in 1DC? and
then from the corset in 1DCR. 'lthou(h constantly shiftin( in its "lacement, the corseted
waistline, which had "ersisted almost without interru"tion since the -enaissance,
di0ided the female form into two distinct masses. 4y 1DCC, it "romoted an SAcur0e
silhouette with lar(e, forwardA"ro=ectin( breasts and e1ually lar(e backwardA"rotrudin(
bottom. In "romotin( an uncorseted silhouette, %oiret "resented an inte(rated and
intelli(ible cor"oreality. )e was not alone in this 0ision of dress reform. /ucile (also
known as /ady :uff @ordon and ,adeleine 9ionnet also ad0anced an uncorseted
silhouette, but it was %oiret, lar(ely owin( to his acumen for "ublicity, who became
most widely associated with the new look.
In freein( women from corsets and dissol0in( the fortified (randeur of the obdurate,
hy"erbolic silhouette, %oiret effected a concomitant re0olution in dressmakin(, one that
shifted the em"hasis away from the skills of tailorin( to those based on the skills of
dra"in(. It was a radical de"arture from the couture traditions of the nineteenth century,
which, like menswear (to which they were indebted, relied on "attern "ieces, or more
s"ecifically the "recision of "attern makin(, for their efficacy. /ookin( to both anti1ue
and re(ional dress ty"es, most notably to the @reek chiton, the <a"anese kimono, and
the 8orth 'frican and ,iddle Eastern caftan, %oiret ad0ocated fashions cut alon(
strai(ht lines and constructed of rectan(les. Such an em"hasis on flatness and "lanarity
re1uired a com"lete re0ersal of the o"tical effects of fashion. .he cylindrical wardrobe
re"laced the statues1ue, turnin(, threeAdimensional re"resentation into twoAdimensional
abstraction. It was a strate(y that dethroned the "rimacy and destabili3ed the "aradi(m
of Western fashion.
%oiret+s "rocess of desi(n throu(h dra"in( is the source of fashion+s modern forms. It
introduced clothin( that hun( from the shoulders and facilitated a multi"licity of
"ossibilities. %oiret e>"loited its fullest "otential by launchin(, in 1uick succession, a
series of desi(ns that were startlin( in their sim"licity and ori(inality. #rom 1DCR to
1D11, he "resented (arments that "romoted an etiolated, hi(hAwaisted :irectoire
-e0i0al silhouette. :ifferent 0ersions a""eared in two limitedAedition albums, %aul
Iribe+s /es robes de %aul %oiret (1DCI and @eor(es /e"a"e+s /es choses de %aul %oiret
(1D11, early e>am"les of %oiret+s attem"ts to cement the relationshi" between art and
fashion (later e>"ressed in collaborations with ErtS and -aoul :ufy, amon( others.
4oth albums relied on the stencilin( techni1ue known as "ochoir, resultin( in brilliantly
saturated areas of color (;CCD.?CC.1;ID. It was an a""roach that not only reflected the
no0elty of %oiret+s desi(ns but also his uni1ue "alette. Indeed, althou(h the columnar
(arments de"icted in the "ochoirs referenced 8eoclassicism, their acidic colors and
e>otic accessori3ation, most notably turbans wra""ed s la ,adame de Stal, were more
an e>"ression of orientalism (as were se0eral cocoon or kimono coats for which %oiret
was known throu(hout his career.
S"urred on by the success of the 4allets -usses "roduction of SchShSra3ade in 1D1C,
%oiret (a0e full 0ent to his orientalist sensibilities, launchin( a se1uence of fantastical
confections, includin( 6harem6 "antaloons in 1D11 and 6lam"shade6 tunics in 1D1?
(earlier, in 1D1C, %oiret had introduced hobble skirts, which also can be inter"reted as an
e>"ression of his orientalism. 's well as hostin( a la0ish fancyAdress "arty in 1D11
called 6.he .housand and Second 8i(ht,6 in which the fashions and the sceno(ra"hy
reflected a "hantasma(oric mythical East, he also desi(ned costumes for se0eral
theatrical "roductions with orientalist themes, most notably <ac1ues -iche"in+s /e
,inaret, which "remiered in %aris in 1D1? and "resented the couturier with a "latform
on which to "romote his 6lam"shade6 silhouette. E0en when %oiret reo"ened his fashion
business after World War I, durin( which he ser0ed as a military tailor, orientalism
continued to e>ercise a "owerful influence o0er his creati0ity. 4y this time, howe0er, its
fashionability had been o0ershadowed by modernism. 7tility, function, and rationality
su""lanted lu>ury, ornament, and sensuality. %oiret could not reconcile the ideals and
aesthetics of modernism with those of his own artistic 0ision, a fact that contributed not
only to his diminished "o"ularity in the 1D;Cs but also, ultimately, to the closure of his
business in 1D;D.
It is ironic that %oiret re=ected modernism, (i0en that his technical and commercial
inno0ations were fundamental to its emer(ence and de0elo"ment. 4ut althou(h %oiret+s
orientalism was at odds with modernism, both ideolo(ically and aesthetically, it ser0ed
as the "rinci"al e>"ression of his modernity, enablin( him to radically transform the
couture traditions of the 4elle k"o1ue. While %oiret may ha0e been fashion+s last (reat
orientalist, he was also its first (reat modernist.
)arold 5oda
.he Costume Institute, .he ,etro"olitan ,useum of 'rt
'ndrew 4olton
.he Costume Institute, .he ,etro"olitan ,useum of 'rt
Citation
5oda, )arold, and 'ndrew 4olton. 6%aul %oiret (1IODY1DBB6. In )eilbrunn .imeline
of 'rt )istory. 8ew 2ork& .he ,etro"olitan ,useum of 'rt, ;CCCY.
htt"&**www.metmuseum.or(*toah*hd*"oir*hda"oir.htm (Se"tember ;CCI
#urther -eadin(
:a0is, ,ary E. Classic Chic& ,usic, #ashion, and ,odernism. 4erkeley& 7ni0ersity of
California %ress, ;CCR.
:eslandres, 20onne. %oiret& %aul %oiret, 1IODY1DBB. 8ew 2ork& -i33oli, 1DIO.
5oda, )arold, and 'ndrew 4olton. %oiret. E>hibition catalo(ue. 8ew 2ork&
,etro"olitan ,useum of 'rt, ;CCO.
/e"a"e, Claude, and .hierry :enfert. #rom the 4allets -usses to 9o(ue& .he 'rt of
@eor(es /e"a"e. 8ew 2ork& 9endome %ress, 1DIB.
,artin, -ichard. Cubism and #ashion. E>hibition catalo(ue. 8ew 2ork& ,etro"olitan
,useum of 'rt, 1DDI.
,ilbank, Caroline. 6%aul %oiret.6 In Encyclo"edia of Clothin( and #ashion, edited by
9alerie Steele. :etroit& .homson, ;CCG.
%aul %oiret et 8icole @roult& ,atres de la mode art dSco& ,usSe de la ,ode et du
Costume, %alais @alliSra. E>hibition catalo(ue. %aris& kdition %aris ,usSes, 1DIR.
/a crSation en libertS& 7ni0ers de :enise et %aul %oiret, 1DCGY1D;I. ; 0ols. %aris&
%I'S', ;CCG.
%oiret, %aul. En habillent l+S"o1ue. %aris& @rasset, 1D?C.
%oiret, %aul. ,y #irst #ifty 2ears. .ranslated by Ste"hen )aden @uest. /ondon& 9ictor
@ollanc3, 1D?1.
%oiret, %aul. 'rt et "hynance. %aris& /utetia, 1D?B.
Sil0er, 5enneth E. Es"rit de cor"s& .he 'rt of the %arisian '0antA@arde and the #irst
World War, 1D1BY1D;G. %rinceton& %rinceton 7ni0ersity %ress, 1DID.
Steele, 9alerie. %aris #ashion& ' Cultural )istory. 8ew 2ork& !>ford 7ni0ersity %ress,
1DII.
.roy, 8ancy <. Couture Culture& ' Study in ,odern 'rt and #ashion. Cambrid(e,
,ass.& ,I. %ress, ;CC?.
Weill, 'lain. /a mode "arisienne& /a @a3ette du 4on .on, 1D1;Y1D;G. %aris&
4ibliothh1ue de l+Ima(e, ;CCC.
White, %almer. %oiret. 8ew 2ork& C. 8. %otter, 1DO?.
Wollen, %eter. -aidin( the Icebo>& -eflections on .wentiethACentury Culture.
4loomin(ton& Indiana 7ni0ersity %ress, 1DD?.
.hese related ,useum 4ulletin or <ournal articles may or may not re"resent the most
current scholarshi".
:ruesedow, <ean /. 6In Style& Celebratin( #ifty 2ears of .he Costume Institute.6 .he
,etro"olitan ,useum of 'rt 4ulletin, 0. BG, no. ; (#all, 1DIO.
<S.!- %:# Su""lemental %:#s

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