About fashion

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,

One of the most important aspects of modern fashion is that of demand, supply and distribution, by wholesale dress manufacturers, from copies made from haute couture designs. Haute couture is, as we know, a luxury product designed by a handful of men and women for an exclusive clientele. But of course it doesn't end there, for couture styles,and copies based an original designs, are available to everyone, and at modest prices when compared to the cost of the original garment.
The mass production of ready-to-wear fashion became a reality only after World War I,and occurred through a number of influences.The first of these was the simplification of dress styles pioneered by Poiret's straight-line, tailored suits and tunic dresses in 1910, and by the gradual emergence of sportswear. These changes led to such innovations as the coat-frock, a long-sleeved, one-piece versatile garment sold in a variety of basic styles.

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.

Poiret had shown how it should be done, with his beige coloured Torpedo Renault and matching chauffeur. Patou owned Hispano-Suiza sports autos, and so did Molyneux, but if they raced each other down the Rue de Rivoli it isn't recorded.
The American mannequin Lillian Farley, who modelled as Dinarzade, remembers those un repeatable, far-off days in her memoirs: 'A Hispano-Suiza was sent to fetch us...A footman opened the door and led us upstairs to a dressing-room. Palatial was the word for this. The walls were inlaid with minute squares of gold mosaic...a dozen heavy crystal and gold perfume bottles, graduating in size, stood on the dressing table. In the hall Patou's butler was shaking cocktails, and the others were already in the library talking to Madam Lucile.'This was not Lucile, Lady Duff Gordon, but Patou's premier, the top-ranking dressmaker in a couture house who translates a couturier's ideas into reality.

Patou came from a comfortable, bourgeois background. His family were tanners, but himself became first a furrier, then a dressmaker and finally in 1911, a tailor, so he had a solid grounding for couture. Indeed, such was the quality of his workmanship that his clothes, like those of Chanel, wore well even after being well worn. His style was of rigorous simplicity and neatness, and a clean-lined, almost geometric elegance. It was very much in the Cubist, Art Deco manner of symmetrical design broken by oblique seams; the style was very pervasive in the Twenties, when even patisserie was decorated in what was called the 'New Style'. Patou used Cubist motifs on bathing costumes, on beautifully tailored day dresses, sweaters, blouses, skirts and jackets, some bearing, as part of the intrinsic design, his monogram,JP.
In his immaculate, dark suits, spats and grey Homburg hat, Patou was the acme of masculine elegance, a playboy par excellence and according to his close friend and associate,the Society columnist Elsa Maxwell, a passionate gambler.

Fashion is perpetually sensitive to the kaleidoscopic patterns registered by the shifts, changes and caprices of everyday life, exploiting the latest fads to its own purpose.In the decade before World War I, America was dancing the Boston Two-Step, the Turkey Trot, the Bunny Hug and exciting new dance called the Tango, which inspired the shoe industry to produce suitable footwear-the cuban heel of 1904, and the tango shoe of 1913 with its louis heel and laces around the ankles.The average woman-if the ever was such a person-bought her dresses from department stores-with tango shoes to match.

From the end of the seventeenth century shows the development from the trained mantua through the various robes, and the chemise dress, to the bellshaped crilonine, the back-fullness bustle, and finally the tubular or linear style that, give or take a few brief departures such as DIOR's New Look of the late 1940s, is still with us today.