History of fashion design refers specifically to the development of the purpose and intention behind garments, shoes anaccessories, and their design and construction. The modern industry, based around firms or fashion houses run by individual designers, started in the 19th century with Charles Frederick Worth who, beginning in 1858, was the first designer to have his label sewn into the garments he created.[1]
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The design of these clothes became increasing based on printed designs, especially from Paris, which were circulated around Europe, and eagerly anticipated in the provinces. Seamstresses would then interpret these patterns as best they could. The origin of the designs was the clothes devised by the most fashionable figures, normally those at court, together with their seamstresses and tailors. Though there had been distribution of dressed dolls from France since the 16th century and Abraham Bosse had produced engravings of fashion in the 1620s, the pace of change picked up in the 1780s with increased publication of French engravings illustrating the latest Paris styles, followed by fashion magazines such as Cabinet des Modes. By 1800, all Western Europeans were dressing alike (or thought they were); local variations became first a sign of provincial culture and later a badge of the conservative peasant.[2]
In the creation of any era of fashion, it is important to understand the role of the designer. Throughout history, many believe designers to do one simple job; design. However, designers must take into account the beliefs and needs of people during that time, the economic status, and the desire of those looking to buy. A designer must not only create for themselves, but also for the population. Famous designer, Margiela, claims that fashion is technical and has a direct path, it is not simply just art. While fashion can take creativity, one must know what is the correct move in order to find success. Everything is very calculated for these designers.[3]
In the early 20th century, fashion magazines and, with rotogravure, newspapers, began to include photographs and became even more influential. Throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Talented illustrators - among them Paul Iribe, Georges Lepape, Erté, and George Barbier - drew attractive fashion plates for these publications, which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton which was founded in 1912 by Lucien Vogel and regularly published until 1925.[4]
During the early 18th-century, the first fashion designers came to the fore as the leaders of fashion. In the 1720s, the queen's dressmaker Françoise Leclerc became sought-after by the women of the French aristocracy,[5] and in the mid century, Marie Madeleine Duchapt, Mademoiselle Alexandre and Le Sieur Beaulard all gained national recognition and expanded their customer base from the French aristocracy to foreign aristocracy.[6] However, Rose Bertin is generally regarded as the first internationally famous fashion designer.
An outsider in the French Court, Marie Antoinette relied on Bertin's meticulous designs to help her "combat her enemies with style". Marie Antoinette's unique fashion preferences such as masculine riding breeches or simple muslin shift dresses, contrasted sharply with elaborate gowns as the Queen attempted to create a persona that would allow the citizens of France to connect with her and her lifestyle. Although Marie Antoinette's attempts were largely unsuccessful, the way in which Bertin helped the Queen express herself through fashion were groundbreaking and set a precedent for the monarchs who followed, and their designers, such as Louis Hippolyte Leroy. And by the early 19th century, designers such as Ann Margaret Lanchester and Mary Ann Bell were expanding their businesses, and publishing their own designs in fashion magazines.[8] In the first half of the 19th-century fashionable Parisian designers, such as Madame Vignon, Madame Victorine and Madame Palmyre, normally did not independently design a product which their clients could choose to buy, but rather created the product in collaboration with their clients wishes, to produce something unique.[9]
Throughout the early decades of the 20th century, high fashion originated in Paris and, to a lesser extent, London.[citation needed] Fashion magazines from other countries sent editors to the Paris fashion shows. Department stores also sent buyers to the Paris shows, where they purchased garments to copy (and openly stole the style lines and trim details of others). Both made-to-measure salons and ready-to-wear departments featured the latest Paris trends, adapted to the stores' assumptions about the lifestyles and pocket books of their targeted people.
Conspicuous waste and conspicuous consumption defined the fashions of the decade and the outfits of the couturiers of the time were extravagant, ornate, and painstakingly made. The curvaceous S-Bend silhouette dominated fashion up until around 1908. The S-Bend corset thrust the chest forward into the mono-bosom, and, with the aid of padding, judicious placement of trim in clothing, and, most especially, a particular posture entirely independent of the corset, created the illusion of an "S" silhouette.[10] Toward the end of the decade Paul Poiret introduced designs that did not include a petticoat or a corset, taking the S shape out of fashion. This was a big change, as women's waists had been shaped by corsets since the Renaissance. [11]
During the early years of the 1910s the fashionable silhouette became much more lithe and fluid, and softer than in the 19th century. When the Ballets Russes performed Scheherazade in Paris in 1910, a craze for Orientalism ensued. The couturier Paul Poiret was one of the first designers to translate this into the fashion world. Poiret's clients were at once transformed into harem girls in flowing pantaloons, turbans, and vivid colors and geisha in exotic kimono. Poiret also devised the first outfit which women could put on without the help of a maid.[12]
The Art Deco movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 19th century. It is also notable that the first real fashion shows were organized during this period, by Jeanne Paquin, one of the first female couturiers, who was also the first Parisian couturier to open foreign branches in London, Buenos Aires, and Madrid.[13]
Two of the most influential fashion designers of the time were Jacques Doucet and Mariano Fortuny. Doucet excelled in layering pastel colors and his elaborate gossamer dresses suggested the Impressionist shimmers of reflected light. His distinguished customers never lost a taste for his fluid lines and flimsy, diaphanous materials. While obeying imperatives that left little to the imagination of the couturier, Doucet was nonetheless a designer of immense taste and discrimination, a role many have tried since, but rarely with Doucet's level of success.
After the First World War, a radical change came about in fashion. Bouffant coiffures gave way to short bobs, dresses with long trains gave way to above-the-knee pinafores. Corsets were abandoned and women borrowed their clothes from the male wardrobe and chose to dress like boys. Although, at first, many couturiers were reluctant to adopt the new androgynous style, they embraced them wholeheartedly from around 1925. A bustless, waistless silhouette emerged and aggressive dressing-down was mitigated by feather boas, embroidery, and showy accessories. The flapper style (known to the French as the 'garçonne' look) became very popular among young women. The cloche hat was widely worn and sportswear became popular with both men and women, with designers like Jean Patou and Coco Chanel popularizing the sporty and athletic look.
The great couturière Coco Chanel was a major figure in fashion at the time, known as much for her magnetic personality as for her chic and progressive designs. Chanel helped popularize the bob hairstyle, the little black dress, and the use of jersey knit for women's clothing; she also elevated the status of costume jewelry and knitwear.
Two other prominent French designers of the 1920s were Jeanne Lanvin and Jean Patou. Jeanne Lanvin, who began her career as a milliner, made such beautiful outfits for her young daughter Marguerite that people started to ask for copies. Lanvin's name appears in the fashion yearbook from about 1901, however, it was in the 1920s that she reached the peak of her success. The Lanvin style embraced the look of the time, with its skillful use of complex trimmings, dazzling embroideries, and beaded decorations in light, clear, floral colors that eventually became a Lanvin trademark. By 1925 Lanvin produced many different products, including sportswear, furs, lingerie, men's fashion, and interior designs. Her global approach to fashion foreshadowed the schemes that all the large contemporary fashion houses would later adopt in their efforts to diversify.
Fair Isle patterns became very popular for both sexes. Heels, at the time, were often over two inches high and helped popularize the two-tone shoe. Salvatore Ferragamo and André Perugia were two of the most influential and respected designers in footwear. Many stars of silent film had a significant impact on fashion during the 1920s, including Louise Brooks, Gloria Swanson, and Colleen Moore. The lighthearted, forward-looking fashions of the 1920s gradually came to halt after the Wall Street Crash of 1929, and succumbed to a more conservative style. While the flapper look persisted into 1930, it quickly disappeared afterward, although bell-shaped hats lasted through 1933.
In the 1930s, as the public began to feel the effects of the Great Depression, many designers found that crises were not the time for experimentation. Fashion became more compromising, aspiring to preserve feminism's victories while rediscovering a subtle and reassuring elegance and sophistication. Overall, 1930s clothing was somber and modest, reflecting the difficult social and economic situation of the decade. Women's fashions moved away from the brash, daring style of the 1920s towards a more romantic, feminine silhouette. The waistline was restored, hemlines dropped to nearly ankle-length, there was renewed appreciation of the bust, and backless evening gowns, and soft, slim-fitting day dresses became popular. The female body was remodeled into a more neo-classical shape, and slim, toned, and athletic bodies came into vogue. The fashion for outdoor activities stimulated couturiers to manufacture what would today be referred to as "sportswear." The term "ready-to-wear" was not yet widely in use, but the boutiques described such clothes as being "for sport". In place of the bobbed flapper haircut, the standard women's hairstyle of the 1930s was a modest, short perm. 2ff7e9595c
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