About fashion

I achieved a big success with my summer dress collection in Prague.I got acquainted with a famous designer, who taken away to have supper his wonderful house. He had a fantastic Aston Martin, we rode on the motorway. It was the most exciting show of my life, and the most beautiful car, masini - what I saw once..

What clearly had an affect on fashions, apart from Chanel's Functional Chic, were the stars of the silent screen.From the earliest days of the movies, film producers had relied on Paris couture to dress the stars glamorously, influencing the tastes of that generation, and others to follow.

On the spring saluting fashion show in Prague, we got richer by many experiences. Onto the proposal of one of my acquaintances we bought a microbus because the much scenery, dresses take up much space. I followed away Peter to the carmarket and I helped it for him, because than said it, he needs my aesthetic sense. I decided it beside a beautiful emerald bus. I did not take it for my eyes, when I noticed it, that how much registration tax, taxa auto 2009 are needed for him to pay... I asked it, that this wants to be a joke?
I was surprised because I do not move in these circles really and I behaved in that manner, than a rural goose. I did not can even on the motorway to talk about like this, onto what egg proposed to, that let us talk about the current vernal fashion rather!:))

Az 1920-as években a sportkocsik egyre népszerűbbek lettek, és eladásuk olyan ütemben nőtt, ahogy méretük, űrtartalmuk és áruk csökkent. Pedig azokban az időkben szó sem volt autó hitel, vagy autófinanszírozási módokról. Nagy valószínűséggel ezek a fogalmak ismeretlenek voltak. A legtöbb versenyt megnyerő kreációkat az angol Bentley, a francia Amilcar, Chenard-Waallcker, Salmson és Delage, a brit Alvis, Invicta, GN és Frazer Nash, az olasz Alfa Romeo és Lancia gyártotta.Csodálatos, "sportos" évtized volt ez, amely örök időkre megszabta a sportkocsik fejlődési irányát. Az I. világháború előtt már az Aston Martin is kint volt az utakon, de csak 1921-től árusították.

I experienced a superb experience on a last week. Into Paris called in one of my clients, onto a high-level international fashion show.The best trade they were represented, wonderful designers' fascinating dress collections, beautiful models. My opportunity opened newest evening dress onto the presentation of my collection, which had a beyond expectations success.Following the program an standing onto receiving called in, where a food beverage is luxurious with supply we were waited for. I may have got richer by a newer experience because we were taken with a special masini (car) a huge limousine onto the social evening.

I got an invitation for a Japanese fashion show on a last week where renowned fashion designers presented his dresses. I admit it, a moderate, more subtle taste which is conflicting with the western fashion world for me was slightly unusual world.Number celebrity appeared on the fashion show, actors, politicians, authors, rich entrepreneurs. I learned a lot from a vocational viewpoint, I was richer with many ideas. I had an opportunity for the presentation of my own collection, I had a unique success which is big for my style duly.The kyocera one of a company's clerks invited, that let me plan cocktail dresses onto the corporate party. I said a yes gladly naturally.

In the Court, with its finely structured hierarchy, the forces of fashion as described by such theorists as Georg Simmel, Herbert Spencer and the economist Thorstein Veblen, arose from competitiveness and the need to maintain a rigid class structure. 'Fashion is basically an emulation of prestige groups,' claims Simmel or, as William Hazlitt put it, ' Gentility fleeing from vulgarity.' Court etiquette could be decidedly contradictory and you had to know the rules-to imitate or not to imitate, that was the question. When Luis XIV shaved off his moustache in 1680, it was expected that those gentlemen at Court, who wore moustaches, would follow the King's lead. Similarly, when Marie Antoinette lost her hair after her confinement,

Couture houses survived by cut-backs and staff reductions, by getting credit from textile manufactures and using capital accrued during the rich years of the Twenties, and because of the faithful patronage of the 'Best Dressed List'. This list was, to borrow a phrase of Ernestine Carter's, a 'tongue-in-the -chic' poll, taken by the leading couturiers in the Twenties, to decide which of their distinguished clients were the most elegant. Said The New York Times,'A candidate must do more than invest the sum of $50,000 with the Paris dressmaking trade. She must have brains, poise and vivacity.' Fashion journalist Brigid Keenan, writing in 1977 in The Women We Wanted To Look Like, said that couturiers in those days designed for 'a handful of rich Society women who rivalled each other in smartness, snobbery and wealth. These women were fashion. Every bow or bead they wore was reported in the papers, and the loveliest among them were in constant demand as the subjects for glossy magazine photographs.'

Schiaparelli and Poiret were two of the great entertainers of fashion, and, along with Patou and Dior, laid the foundations of our modern fashion scene-the razzmatazz style of presentation, the catwalk capers, the media hype. The media has had a profound influence on the way that fashions are marketed, and the fashion artists, editors and photographers have played a major role in shaping public attitudes.Right from the first popular fashion plates of the late 18th century, the aim of the artist has been simple: to show the dress in detail and at the same time create an appealing image ( usually impossibly slim-waisted), a reflection of the feminine and masculine ideal.
The fashion artist, as we understand and recognize him today, began when Lucien Vogel founded the delightful magazine La Gazette du Bon Ton in 1912. Vogel gathered a coterie of avant-garde illustrators such as Paul Iribe, André Marty, and Georges Lepape, who were encouraged by Poiret and did much to popularize the Poiret style. By the 1920s, fashion reporting had become a branch of journalism in its own right, and artists created an entirely new style of graphic art, enhancing the pages of Vogue, Harper's Bazaar, Femina and Jardin des Modes.