introduction to fashion and fundamentals of apparel fashion fashion

fashion is a prevailing type of clothes by large segment of people at any given time.
prepared by fekadu labena

1. HISTORY OF FASHION Target Group: 3 rd Year Apparel and Fashion Design Students BY KUMSA .T

2. What is fashion An accepted day to day way of dressing at a given time. The term implies four components : Style , Change , Acceptance and Taste . “ fashion is like a fruit ,you couldn't eat it a day before and you can`t eat it a day after its juts about today's ” Albert Elbaz

3. “ Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening” Coco Chanel

4. Fashion terminologies Clothes  :- It is a collective term for all items of apparel worn by men, women & children Costumes :- The term  costume  can refer to wardrobe or dress of a certain period in history, people or class. Costume also refer to the artistic arrangement of accessories in an artistic theatrical performance. Silhouette :- Contour or outline as shown in a solid black background on white background. general outline of garment.

5. Designs that have the same characteristics are referred to as a style, such as a blazer-style jacket , an empire-style dress, or an envelope-style handbag. A style may come and go in fashion , but that specific style always remains that style , whether it is in fashion or not . For example , the polo shirt style will not always be in fashion , yet it will always have variations of the same styling and details, which make it a polo shirt.

6. style Style in any particular characteristic or look in apparel or accessories. The manufacturers assigns a style number to each new design in each collection, which is used to identify it throughout production , marketing and retailing.

7. change What makes fashion interesting is that it is always changing. Designer karl lagerfeld said, ‘what i like about fashion is change. Change means also that what we do today might be worthless tomorrow. Fashion is a train that waits for nobody . Get on or its gone.

8. Many people criticize the fickleness of fashion, saying that fashion changes only to stimulate buying. And it is true that if fashion never changed, the public would not buy apparel and accessories so often. However , fashion is one way for consumers to visually express their relationship to current events and to life itself.

9. A cceptance Acceptance implies that consumers must buy and wear a style to make it a fashion . Karl Lagerfeld remarked , ‘There’s no fashion if nobody buys it’. It is then up to the public to decide weather these styles will become fashion. Acceptance , that is , purchases by a large number of people, makes a style into fashion. The degree of acceptance also provides clues to fashion trends for coming season.

10. Taste An individual's preference for one style or another is referred to as a taste. ‘Good taste’ in fashion implies sensitivity to what is beautiful and appropriate . People who have good taste also understand quality and simplicity. Good taste is developed by extensive exposure to beautiful design. People also develop individual tastes, often referred to as ‘personal style’.

11. Fashion cycle Period of time or life span during which fashion exists. Fashion Acceptance is usually described as a fashion cycle. Fashion cycle is depicted with five stages. Introduction Rise in Popularity Peak of popularity Decline in popularity Rejection

12. Introduction of cycle New styles introduced in high price level. New apparel and accessory styles by changing elements like line , shape , colour , fabric and details. High production cost Small quantity in production More flexibility in terms of design Style and Newness politicians and Wealthy group of people who can afford .

13. Fashion cycle Period of time or life span during which fashion exists. Fashion Acceptance is usually described as a fashion cycle. Fashion cycle is depicted with five stages. Introduction Rise in Popularity Peak of popularity Decline in popularity Rejection

14. Introduction of cycle New styles introduced in high price level. New apparel and accessory styles by changing elements like line , shape , colour , fabric and details. High production cost Small quantity in production More flexibility in terms of design Style and Newness politicians and Wealthy group of people who can afford .

15. Increase in popularity Thus selling the garment at lower prices. Manufacturers adopt designs and styles to produce with less expensive fabrics or less detail. More affordable and more availability Acceptance by more people Adaptations and changes Mass production

16. Peak of popularity More manufacturing Various Price levels Knockoffs – A knock off is a copy of someone's design .Usually a garment that is already a best-seller for another manufacturer. Fashion most popular and accepted Length at this stage determines if fashion becomes a classic

17. Decline of popularity Fashion conscious people get tired of same styles in every store in the market . Looking for something new . Consumers still wearing those styles but not willing to buy the same product at the same price. Many Shoppers waiting for sales to buy the products at deflated prices .

18. Rejection of style or obsolesce Already turned to another new look thus beginning a new cycle . Styles out of fashion . Style is not accepted with any price .

19. Length of cycle Classics– Acceptance for an extended period , simplicity of design . Example – Chanel suits( 1950) gained popularity in 1980’s and 1990’s . Cashmere sweaters , polo shirts , jeans and ballet flats. Fads– short lived fashions , lack of design strength to hold a customer attention for long . Narrow consumer group. Example – pony prints or charity wristbands . Cycles within cycles – Design elements may change in terms of colour , texture or fit but the style remains the same .

20. Jeans became a fashion item in late 1960’s giving space and shape to various product line of the same. Recurring cycles is Resurfacing of the same fashion . Designers borrow ideas from the past. Nothing is exactly the same also nothing is totally new. Different fabrics , colours and details which makes the look unique to today .

21. Factors affecting fashion movement Consumer acceptance and desire Economic acceptance - affordability Social acceptance Adaptations Fibers , fabrics, textures Color Marketing - Advertising techniques Fashion Leaders

22. Theories of Fashion Movement Fashion Trend Direction of the movement Depends on where the fashion began Trickle-Down Theory Trickle-Up Theory Trickle-Across Theory

23. Trickle-Down Theory Movement of fashion starts at the top socioeconomic status of consumers. Fashion then accepted “down” to the general public Oldest and most accepted theory. Fashion trendsetters Fashion adopters

24. Trickle-Up Theory Fashion movement starts with lower socioeconomic levels. Acceptance by consumers with higher incomes Athletic apparel style Jeans Hair style Punk style Fashion adopters Fashion Trendsetters

25. Trickle-Across Theory Fashion acceptance begins among several socioeconomic groups. All price levels at same time Quality and lines vary Most prevalent in 21 st century - technology

26. Consumer identification Fashion Leaders Fashion innovators , motivators or role models Fashion victims Fashion Followers Individuality

27. Fashion Leaders Before the fashion is generally accepted by the general public , these are those people who pick up the trend or style and wear it . They are confident and have stylist to advice them to Attracting the attention of others. Usually they fall in two categories named fashion innovators and fashion Models.

28. Fashion innovators create fashion statements , aggressively looking for interesting new styles , colours , fabrics and ways to accessorize . Fashion motivators or role models are those who have beauty to carry every look graciously or have wealth to become role fashion models. Mostly these people are in media , including royalty , politicians , TV and film stars , rock stars and super models .

29. Fashion Victims – Those have too much money to spend on designer brands thus becoming brand slaves with no creativity of their own . Are people who blindly follow a brand without any analysis .

30. Fashion Followers Fashion needs followers or it would not exist. These people imitate others only after they are sure of fashion trends. They want more acceptance to what they are wearing thus they encourage bigger network of fashion followers in their family and friends . Imitating people they admire.

31. Individuality Mixing unexpected garments , prints , colours and textures together making individual decision . Exclusive combination of brands and designer wear . These are those people who create fashion in a very eclectic way and present a new fashion trend.

32. Fashion designer Someone who loves to Study fashion trends Sketch designs Select materials, and Create clothing and accessories.

33. Qualities of a Great Fashion Designer Highly Creative Strong Drawing Skills Computer skill Strong Sewing Skills Good Communication Good Eye for Materials Strong Visualization Abilities Knowledgeable of Current Fashion Trends

34. Why do we wear clothes? For Protection For Identification For Adornment For Safety For Cultural Reasons Indicate Social Status For Smart Purpose

35. Quiz 1 5% 1 List and explain factors of affecting fashion movement 1.5 marks 2 Discuss theories of fashion movement 1.5 marks 3 Write stages of fashion cycle with in diagram 2 marks

36. Modern fashion design is roughly divided into two main categories. Haute Couture and Prêt-a-Porter. Types of fashion

37. Haute Couture Haute Couture is a French word for "high sewing" or "high dressmaking". It refers to the creation of exclusive custom-fitted clothing. Haute Couture is made to order (custom made) for a specific customer, and it is usually made from high-quality, expensive fabric and sewn with extreme attention to detail and finish, often using time-consuming, hand-executed techniques.

38. It originally referred to Englishman Charles Frederick Worth's work, produced in Paris in the mid-nineteenth century. In modern France, Haute couture is a "protected name" that can be used only by firms that meet certain well-defined standards. However, the term is also used loosely to describe all high-fashion custom-fitted clothing, whether it is produced in Paris or in other fashion capitals such as Milan, London, Rome, New York and Tokyo.

39. prêt-à-porter Prêt-à-Porter is the French word for the term “Ready to Wear”. Ready-to-wear or Prêt-a-Porter is the fashion design term for clothing marketed in a finished condition (ready made), in standard clothing sizes. In the fashion industry, designers produce ready-to-wear clothing intended to be worn without significant alteration, because it is by far the most economical, efficient, and profitable way to produce garments. They use standard patterns, factory equipment, and faster construction techniques to keep costs low, compared to a custom-sewn version of the same item

40. Some fashion houses or fashion designers create ready-to-wear lines that are mass-produced and industrially manufactured, while others offer lines that are very exclusive and produced only in limited numbers for a limited time usually to specific wholesaler/s.

41. Ready-to-wear collections can also be divided into designers / creator collections and Confection collections. Confection collections or Mass Market Are the ones we see most commonly in our shops. Stylists design these collections. The brands that produce these collections aim only for a mass public and are in the general not searching for a new point of view on fashion. II. Designer / Creator collections have a high quality a superb finish and a unique cut and design.

42. These collections are the most trendsetting compared to Haute Couture and Confection. These ready to wear collections often contain concept items that represent a certain philosophy or theory. These items are not created for sales but only to create a fashion trend. The designer’s ready-to-wear collection is also modeled on international catwalks.

43. Areas of Fashion

44. Fashion Trend It is the direction in which fashion is moving. This helps the manufacturers and merchants to decide whether to promote the fashion to the customer or to abandon it. Fashion forecasters look for the styles they think are prophetic, ideas that capture the mood of the times and signal a new fashion trend.

45. Very often, a new trend appears in small doses until it spreads to other collections. Evaluating the collections becomes one way a designer, working for a mainstream manufacturer, can research fashion direction. For retail buyers.

46. It is becoming a huge challenge to figure out which trends will become fashion basics, like capris, and which are only fads, such as pony prints. Empowered by the Internet and television, global trends are moving at an accelerating pace. The life-span of a trend is now about five months instead of a year. For the junior market, the span is only three months.

47. Fashion Forecasting Fashion forecasting is a process by which researchers and people working in the fashion industry, try to analyze trends in the current market situation and then attempt to predict the trends for future market by analyzing political, cultural, social and other multimedia factors that can influence fashion. It is a prediction of fashion colors, textures, designs, silhouettes and styles that become popular.

48. Ancient Egypt The Egyptian civilization flourished for three thousand years. Historians divide it into three main periods, or kingdoms: the Old, the Middle, and the New Kingdom. The Old Kingdom is characterized by a dynamic periods in the development of Egyptian art and architecture .

49. …Cont’d In ancient Egypt, linen was a valuable commodity used for clothing, bedding, blankets, cushions and other purposes . In general, the bandages used to wrap a mummy were torn from old linen sheets, but a number of the bandages from Tutankhamun's embalming cache, including this one that has a selvedge edge on both sides, were specially woven for this purpose.

50. ... cont’d Egyptians of the Old Kingdom wore a loincloth made of woven material, which was wrapped several times round the body and kept in place by a girdle. In addition to this a wrap or a speckled skin was hung over the shoulders.

51. Elaborate broad collars were worn by the Egyptian elite for a variety of festival and religious occasions. These could be floral, made from actual plant material , or crafted from individual elements of faience, metal, or semi precious stone. T he middle kingdom

52. In the late Middle Kingdom/early New Kingdom sandals became more prominent. They still weren’t worn on a day to day basis, though. They were mostly worn on special occasions. By the New Kingdom everyone expect the very poor had a pair of sandals .

53. Middle Kingdom/early New Kingdom sandals became more prominent. They still weren’t worn on a day to day basis, though. They were mostly worn on special occasions. These shoes demonstrated social class just as clothing. The lower classes had sandals made of reeds (fig. 1) , Upper classes of leather. The more wealthy you were the more heavily adorned your sandals were. They could be decorated with beads, ( fig. 2) beads of precious metals like gold. (fig. 3) There were sandals with buckles and cloth adornments as well. (fig. 1) A pair of reed sandals. (fig. 2) Beaded leather sandals (fig. 3) Leather sandals embroidered with precious metal beads

54. The New Kingdom A garment for both genders, which was introduced shortly after the establishment of the New Kingdom. Kalasiris The long type of kalasiris that covered the body up to the neck was made from a rectangular piece of material twice as long as the garment. Fig 4.  

55. Hair and Wigs Most Egyptian men were clean-shaven and kept their hair fairly short, although some noblemen had longer hair . By the time of the New Kingdom noblewomen wore their hair long.These long tresses were sometimes worn loose and sometimes curled and braided.

56. Ancient Rome Was an Italic civilization that began on the Italian Peninsula as early as the 8th century BC. Roman toga which was derived form it of a semicircle of cloth . Sometimes it was rectangular and formed a kind of cloak. The toga, a distinctively Roman garment, resembled a double tebenna .

57. Women wore a stola draped over their tunics, which were longer than the men’s tunics. Stolas were usually made of cotton or wool. Women also wore a palla over their stola . The palla was worn much like a shawl.

58. Toga Roman toga which was derived form it of a semicircle of cloth. Sometimes it was rectangular and formed a kind of cloak. The toga, a distinctively Roman garment, resembled a double tebenna . It was in shape probably like two large segments of a circle, equal in size, placed with the straight edges together (Fig. 113),

59. Tunica – Under garment The under-garment and the actual indoor dress .This was a kind of shirt, cut fairly wide, closed all round, and reaching to below the knee. The sleeves (when the garment had these) covered the arms to the elbows . of the Romans was the tunica.

60. Paenula Bell shaped garment Worn in cold weather Normally close all round but sometimes open sown the front. As a rule hood attached it. But not always

61. Hair styles in ancient Rome In ancient Rome women could do what ever they wanted to do with their hair. They could colour it, curl it or chop it off if they wanted to. Hair curlers, pins, and hair net were commonly used. They used pins made out of wood, ivory, crystal, silver or painted bone.

62. Ancient Greece Ancient Greek society had an elite of wealthy, well-educated people. Greek clothing was made out of types of materials. The first mostly used was wool which was woven from very coarse to very soft. They used linen grades from fine to very soft. Drapery in Greek culture did not fold crisply like Egyptian folds fell and the linen was not as stiff as the linen used in Egypt.

63. Himation A rectangle of wool, worn by married women, with the corner over the head like a shawl. The colors were natural wool colors : white, browns , and black; or died scarlet, crimson or purple. The garment sometimes had woven patterns, selvages, and embroidery .

64. Cloak Most men wore a cloak, with the right hand corner flung over the left shoulder and covering the left arm. Under this they wore a long pleated shirt braided at the neck and down the seam.

65. Ancient Greek – Hairstyles in ancient Greece also changed over time In the early days of Greece, men normally wore their hair short and grew beards. During the Hellenistic era, beards went out of style. Long hair was typical for Greek women; only slave women would wear their hair short. Women curled and braided their hair in early Greece Later the style was to tie their hair back or put it up into a bun.

66. Chiton The essential garment, the chiton , being a simple rectangle of cloth folded round the body There were two main styles of chiton. Doric chiton was a sleeveless tunic, Ionic chiton had elbow-length sleeves, which were fastened at intervals across the shoulders.

67. The right arm, so that this arm and the right shoulder were bared. Yousometimes the clock was draw under ng men in general, and horsemen in particular, wore over the chiton a kind of short cloak, usually fastened on one shoulder and known as a chlamys

68. … cont’d Himation--- A rectangle of wool, worn by married women, with the corner over the head like a shawl. The colors were natural wool colors: white, browns, and black; or died scarlet, crimson or purple. The garment sometimes had woven patterns, selvages, and embroidery.

69. Cloak Most men wore a cloak, with the right hand corner flung over the left shoulder and covering the left arm. Under this they wore a long pleated shirt ( chiton) braided at the neck and down the seam.

70. The female form of the chlamys was known as the peplos and, like its male counterpart, was worn over the chiton , which reached to the woman’s feet. made of very fine material, even of silk, in spite of the law restraining the luxury of female garments Made of richly patterned material. tubular in shape, The upper edge being turned down to the waist. It was put on over the head and made to fit closely at the shoulder with fasteners. the garment of the Dorian women, was worn at first without a girdle.

71. Greek foot wear Numerous styles of footwear were worn by ancient Greeks. The type of footwear and clothing worn by individuals differed in accordance with an occasion, and rank of an individual. Footwear was of vital importance in ancient Greek fashion. Sandals and half boots with specific carving, or marking on leather were worn by individuals to represent their status.

72. A crude form of arbelos , a shoe making tool which had a thick sharp blade was used to cut and shape leather. Both sexes wore numerous types of sandals that were fastened in different ways. Plaited leather designs, chords, and straps on sandals that left the toes bare were popular among individuals. The types of footwear worn in ancient Greece were:

73. Embades Krepis Buskin Talaria phaecasium Embades This boot was designed and cut in different styles. To ensure comfort to the wearer, the boots had an enclosed shape. Felt or fur was used by shoemakers to design the outer lining of these boots .

74. krepis These boots were designed for the outdoors. Half boot designs and flat sandal designs made with soles made from cowhide leather were popular among individuals in ancient Greece. Because of their durability, numerous designs of these shoes were worn in military combat by soldiers. The uppers of these boots consisted of a cross stripped design.

75. Buskin These boots were made from cloth or leather with closed laces overlapping each other in a crisscross design. The length of these boots varied in accordance with an individual’s preference . Calf length and knee length boots were worn by soldiers, hunters and actors in Greek theater. Hunters and travelers preferred wearing buskins that covered the entire shin as it protected them from poisonous bites from reptiles at night . Luxurious buskins with intricate designs and fur covering were worn by affluent individuals.

76. Talaria Wings on sandals were symbolic of courage, bravery and swiftness in ancient Greece. These sandals were worn by individuals that were swift, fleet-footed and known for their valor.

77. Phaecasium These were boots worn by priests, countrymen and philosophers. A variety of these shoes were also worn for ceremonies and   rituals. Boots  with elegant embroidery patterns were popular among women. These shoes were made from leather, felt or linen. Shoes and boots worn by women were adorned with pearls and ornaments to signify their status.

78. Ancient Greek – Hair styles In the early days of Greece, men normally wore their hair short and grew beards . During the Hellenistic era, beards went out of style . Long hair was typical for Greek women; only slave women would wear their hair short Women curled and braided their hair in early Greece Later the style was to tie their hair back or put it up into a bun.

79. Jewelry in ancient Greece H ere is evidence that ancient Greeks had necklaces, earrings, pins, pendants , armbands, thigh bands, bracelets , rings, wreaths, diadems, and other fancy hair ornaments . Bracelets were often worn in matching sets or pares Jewelry usually had pearls, gems or semiprecious gems. Popular earring designs included: angels flying , such as Eros, Nike, and Ganymede carried up by the eagle of Zeus to Mount Olympus. Jewelry was often passed down from generation to generation. Jewelry was sometimes made as an offering to the gods.

80. Cosmetics Egyptian cosmetics were made from ground minerals mixed with oils. Green and black eyeliners were made from malachite (copper ore) and galena (a type of lead), The Egyptians took a lot of care over making up their eyes; they outlined them with heavy lines, Green eyeliner was used in the early period, but later black became very popular. Red brown henna, made from the leaves of the henna tree, was used to paint nails and possibly hands and feet, and henna was also used to dye hair and wigs. Cosmetics were prepared and stored in jars and bowls, and sometimes in hollow reeds. Makeup was applied with the fingers or with a special wooden applicator. To help them apply their makeup, the rich used mirrors made from highly polished metal.

81. Effects of World War I ( 28 July 1914 -11 November 1918 .) The Status of Women World War I put women in the workforce and gave them new rights and practical clothing. Before 1900, very few women worked outside the home. Without a prominent place in business, women had no authority and no rights. The status of women has changed firmly on their participation in the working world.

82. Cont’d During the war, the absence of men forced women to take on new roles and responsibilities. women wore working uniforms of blouses, overalls or trousers with caps in ammunition factories. The serious mood of the nation and mourning for the dead, reduced people's interest in elegant dressing. From the economic point of view, decreased domestic production and currency restriction strengthened the trend. Several couturiers closed their business.

83. Cont’d Dark colored clothes were widespread. Replacing decorative styles with simplicity. This led to skirts rising from above the ankle to the mid calf. This also led to the adoption of silk stockings as a symbol of luxury and low-cut shoes instead of high boots. The clothes became more uniform-like with a tailored look. The cut of men's costumes also remained constant with reduced details since they now led a more active life.

84. Changing the trend and silhouette The functional working clothes worn by these women had a great impact on fashion. A trend toward masculinity in women's fashion emerged: decorative details disappeared in favor of a tailored look that imitated businessmen's suits.

85. cont’d Corsets were discarded and the curved hourglass silhouette was replaced by the tube. Hemlines shortened and skirts widened to permit freedom of movement. No one wanted or had time for complicated dressing. This change coincided with the need to simplify clothing construction because of rising labor costs and resulted in the democratization of fashion.

86. Ready-to-Wear The need for the convenience of ready-made clothing made the apparel industry grow and made ready-to-wear clothing even more acceptable. The ready-to-wear apparel industry began to prosper when designers such as Poiret , Vionnet , and Chanel simplified styles and thereby construction

87. cont’d The period between the wars was dominated by 3 women designers: Gabrielle 'Coco' Chanel , Madeline Vionnet and Elsa Schiaparelli . Vionnet produced exquisite dresses cut on 'bias' grain (45 degree grain) which curved and clung to the body. She is acknowledged as the creator of the 'cowl neck' and 'halter neck'. Chanel's designs for the new woman were born out of her immense practical sense. She designed the blazer, boxy suits with chains Schiaparelli had an artistic approach to design using unpredictable motifs like lobsters, skulls, as well as humorous accessories and trims.

88. World War II( lasted from 1939 to 1945 ) The war once again affected the clothing industry as it did all other facets of life. For a while it seemed to severally restrict couture, the capital of which was Paris. World War II gave an opportunity for American designers to flourish and for designers from other countries came to America to start their business. American designer Claire McCardell designed comfortable separates (separate items of clothing) thus introducing the very popular category of sportswear.

89. …Cont’d In 1940, Vogue reported on the New York collection openings. With Mainbocher as an example of success, other American designers such as Claire McCardell , Hattie Carnegie, and Vera Maxwell gained recognition. Claire McCardell , considered the top American designer of this time, was credited with originating the "American Look" in practical separates, inspired by the work clothes of farmers, railroad engineers, soldiers, and sportsmen.

90. Effect of World War II on Fashion (1939-1945) American designers became especially skilled at and known for their sportswear, reflecting the more casual American lifestyle, which would eventually influence the rest of the world Sportswear . Changing the trend and silhouette Fashion remained relatively stable during the war years. The U.S. government's wartime regulations restricted the use of fabric and hardware. Functional clothes became a necessity as women doing war work wore uniforms or work clothes

91. …Cont’d Women's suits were heavily influenced by military uniforms. The result was a masculine silhouette for the women who now shouldered the responsibilities at home. The austerity of the early 1940s saw another shift in the silhouette, with hemlines shortening, hats taking on a new significance and shoulder pads adding emphasis to a squared-off shoulder-line Utility dressing became practical necessities. Utility clothes typically featured squared shoulders, narrow hips, and skirts that ended just below the knee. Tailored suits were the dominant form of utility fashion

92. …Cont’d In this time period, there was a law which restricted the manufacture of clothing. Ruffles were forbidden. Only one pocket per blouse or shirt was allowed. Hems could be no deeper than 2 inches and the widest part of the hem of a dress could not exceed 72 inches. Hemlines rose and levelled off just below the knee. For men several things were removed: cuffs, vests, patch pockets, cloth belts, and pleats.

93. cont ’d In 1940, Vogue reported on the New York collection openings. With Mainbocher as an example of success, other American designers such as Claire McCardell , Hattie Carnegie, and Vera Maxwell gained recognition. Claire McCardell , considered the top American designer of this time, was credited with originating the " American Look" in practical separates, inspired by the work clothes of farmers, railroad engineers, soldiers, and sportsmen.

94. Cont’d Women's suits were heavily influenced by military uniforms. The result was a masculine silhouette for the women who now shouldered the responsibilities at home. The austerity of the early 1940s saw another shift in the silhouette, with hemlines shortening, hats taking on a new significance and shoulder pads adding emphasis to a squared-off shoulder-line

95. new look By 1947, after WWII was over, the "New Look" began to replace the wartime utility fashions. The introduction of Christian Dior’s New Look in 1947 changed everything and heralded(be a sign) a new femininity. The New Look gave women a softer, more feminine look and curve. This look was stylish, elegant, and reflected the opposite of wartime restrictions.

96. …Cont’d This new style embraced femininity, with rounded shoulders, shapely bust lines, closely-defined waistlines, slightly padded skirts, and full, billowing skirts that hung just below the calves. 1947 New look by Dior, shoulder line softer skirt again controlled once again with boning and crinolines.

97. new look

98. …Cont’d

99. post war era During the post war years and up to the early 60’s, high fashion remained formal and restricted to the wealthy. As Western economies started to pick up the younger working generation or teenagers, suddenly had for the first time, significant disposable income. It was about this time that youth fashion came to the fore. In the 1950’s the young working classes started to experiment with clothing.

100. …Cont’d In Britain, the Edwardian style with long jackets and narrow trousers became popular. Girls wore tight sweaters and skirts held out with petticoats. There was also a trend towards wearing t-shirts, jeans and leather jackets as popularized by Hollywood film stars of the period.

101. ENOUGH FOR TO DAY!!

102. Individual assignment 1 What is History of Fashion costume from 16 th -21th century describe in detail each of the following terms Unique Style line Product line Costume designer Costume design process Types of fabric used Textile and techniques Accessory and cosmetics and etc. Group1 16-17 th century Group2 18 th -19 th century Group3 20 th -21th century Group4 17 th and 20 th century NB: Assignment is submitted by power point presentation submission date: 03/04/2015 E.C