1. From 1900s-Present Women's Fashion Early 1900s. Early
1990s.
2. Life of a Designer
Draw, design, create,
& sell clothing.
Influence on fashion: Reflects society, political & economical
changes. Fashion Designer Emilio Pucci. Fashion Designer Karl
Lagerfeld.
3. Life of a Designer Continued Starting new trends. Overseeing
production. Managing marketing & finances. Alexander
McQueen.Butterfly Hat , Spring/ Summer 2008.
4. FashionTerms Haute Couture : Custom made &create certain
looks.John Galliano, Dior.Dress , Spring 2007. ( Haute :
High,Couture : Fashion)
5. Prt-a-porter : Mass-production: many sizes. (Boutiques
&Clothing Stores) FashionTerms Continued Tommy Hilfiger.Coat ,
2009. (Ready-to-Wear)
6. Givenchy.Dress , Fall 2010. Can you guess which design
representsHaute Couture& which design representsPret-a-porter?
Gucci.Ensemble;Fall 2003
7. What isSTYLE? John Galliano, Dior.Dress , Spring 2007.
Hubert de Givenchy.Haute Couture , Fall 2010. Karl Lagerfeld.Chanel
House , Winter 2010.
8. Style Personality Defines character Creative International
Christian Dior.Haute , Autumn/Winter 2010 . Christian Lacroix.
Haute Couture ,Spring 2009 (Paris). Emilio Pucci.Haute Couture ,
Fall 2009.
9. Style Invention Issey Miyake.Dress. Inspiration Unique
Artistic expression Yves Saint Laurent."Mondrian" day dress ,
autumn 1965. Karl Lagerfeld.Chanel House , Fall 2010.
10. Trends I.e. Harajuku Current style Followers Trend setters
Colour Block Trend , London. Harajuku Girls. Harajuku Girls.
11. Evolution
Manufacturing & Technology Changes:
Innovations modernized life & impacted fashion industry.
Electricity powered clothing & textile factories.
Trains brought goods to marketplaces.
12. Evolution Continued
Communications made selling clothes easier (phones).
Photography showed buyers clothing designs.
13. Society &Fashion
As society changes,
so does ones
fashion sense.
Evolution Continued Each has great influenceover one another.
E.g.: womens rights, economical change.
14. Evolution Continued Society & Fashion Continued Fashion
is a style that is temporarily adopted [by a social group] because
that chosen style is perceived to be socially appropriate for the
time and situation (Sproles & Burns, 1994). Gabrielle "Coco"
Chanel.Day ensemble , ca. 1927. Cristobal Balenciaga.Cocktail Dress
, Spring/ Summer 1948.
16. Changes in Society Continued Early 1900s: Looser Gowns:
Straight Look Mariano Fortuny.Evening Gown (Delphos Gown) , 1907.
Gabrielle "Coco" Chanel.Day ensemble , ca. 1927. Cristobal
Balenciaga.Day dress , ca. 196064.
17.
Present:
More freedom:
Baggy/ fitted
Many different styles (ie. Dresses, pants, shirts, unisex
clothing, etc.)
1900s trends:
making a comeback.
More revealing
Changes in Society Continued Christian Dior."Chrie" Dinner
Dress,Spring/ Summer 1947. Alexander McQueen.Dress;Spring
2011.
18. In the 1800s, the figure of a woman was tightly fitted,
& greatly emphasized the rear. In the Past Dress , 1800ss.
Corset , 1800s. Silhouette , 1800s.
19. Wire frames were used toemphasizewomanly features (were put
underneath dresses & skirts). In the Past Continued Dress ,
1800s. Wire Skirt , 1800s.
20. In the PastContinued Different types of hoop framing. Hoop
frames , 1800s.
21. Transition from the 1800s to the 1900s Dress , 1800ss.
Mariano Fortuny.Evening Gown (Delphos Gown) , 1907. Leave behind
the form- fitting corsets & puffy skirts & start to embrace
the loose & simple cut garments. Mariano Fortuny was one of the
1 stdesigners to radically change the silhouette of womens
dress.
22. DESIGNERSDAY1
Mariano Fortuny
Mariano Fortuny.Fortuny House in Venice , until 1949.
23. MarianoYMadrazoFortuny Painted, photographed, worked with
textiles, & clothing. Disliked trendiness & commercialism
of fashion. Fashion did not interest Fortuny, for him, fashion was
art. 1871-1949 Mariano Fortuny.Evening Gown(Delphos Gown) ,
1907.
24. M a r i a n oF o r t u n y Peplos Kore , Acropolis, Athens,
c.530 BC (1.17m) Acropolis Museum, AthensKORE: KOUROS: Kouros,
Tenea c. 550 BC (1.35m) Glyptothek, MunichDress Design(Delphos
Gown):Classical Greek-inspired. Based on Kore & Kouros
sculptures.
25. Whatsimilaritiesdo you notice between the Kore Statue and
the Delphos Gown ? Mariano Fortuny.Evening Gown (Delphos Gown) ,
1907. Peplos Kore , Acropolis, Athens, c.530 BC (1.17m) Acropolis
Museum, AthensMariano Fortuny
26. Mariano Fortuny What othersimilaritiesdo you notice between
these two images ? Peplos Kore , Acropolis, Athens, c.530 BC
(1.17m) Acropolis Museum, AthensMariano Fortuny.Evening
Gown(Delphos Gown) , 1907.
27. M a r i a n oF o r t u n y Peplos Kore , Acropolis, Athens,
c.530 BC (1.17m) Acropolis Museum, AthensKORE: Mariano
Fortuny.Evening Gown (Delphos Gown) , 1907. Wide neckline Wide
neckline Loosely fitted Hung from shoulders
29. M a r i a n o F o r t u n y1st textile creation:
KnossosScarves . Rectangular Cloth: silk veils, geometric shapes.
Mariano Fortuny.Knossos Scarves , 1906.
30. MARIANO FORTUNY Mariano Fortuny.Knossos Scarves , 1906.
Mariano Fortuny.Knossos Scarves , 1906. These scarves were Fortunys
stepping stones to creating his legendary Delphos Gowns. The same
material used for the Knossos scarves, was also used in making the
Delphos.
31. Mariano Fortuny.Coat,1910s. Stencil Print: traditional
Japanese pattern. Design: Straight- cut structure. Art nouveau
piece. Mariano Fortuny Early Designs:
32. Mariano Fortuny.Gown,1910s. Resembles kimono: Long, narrow
collar & sleeves. Traditional Japanese patterns. Garment
underneath: Delphos Gown. Mariano Fortuny Early
DesignsContinued
33. Invention:DELPHOS GOWN(modern & original) Mariano
Fortuny Pleated Dress This crimpled garment was seen as striking
& dazzling. Pleats changed colour when the movement of the
dress caught thereflection of the light. Mariano Fortuny.Delphos
Gown,1907.
34. Mariano Fortuny
Original:
Batwing Sleeves, Wide Neckline,alwayshad a Chord
Mariano Fortuny.Evening Gown (Delphos Gown) , 1907. Fine silk,hung
loosely, gently surrounds the body.
35. Mariano Fortuny Long, (usually with train), Venetian glass
beads at side seams, armholes function as weights for dress.
Mariano Fortuny.Evening Gown (Delphos Gown) , 1907. Mariano
Fortuny.Evening Gown (Delphos Gown) , 1907.
36. Mariano Fortuny Mariano Fortuny.Tunic and Pants, 1910s.
Delphos Gown : Intended to show natural beauty of bodys shape.
Simple dress, with loose silhouette. Inspiration : Classical Greek
& Medieval Periods. Mariano Fortuny.Evening Gown (Delphos Gown)
, 1907.
37. Mariano Fortuny Mariano Fortuny.Dress,1930s. Renaissance
pattern made by Fortuny. Mariano Fortuny.Dress,1930s. Fortuny later
began using velvet, which he eventually used to cover his Delphos
Gowns.
38. Mariano Fortuny Mariano Fortuny is known to have broken
through the corset & tight silhouette era, only to replace them
with long, loose, & flowing garments. Because his clothing was
very distinctive, many designers have used his designs for
inspiration & have heavily relied on his art for their starting
point in fashion. Mariano Fortuny.Evening Gown(Delphos Gown) ,
1907.
39. A great example of a fashion designer who has definite
similarities in her designs with those of Fortunys is Gabrielle
Coco Chanel. Mariano Fortuny.Evening Gown (Delphos Gown) , 1907.
Gabrielle "Coco" Chanel Evening Dress , ca. 192627.
40. C O C O C H A N E L
41. Coco Chanel A girl should be two things: Classy &
Fabulous . -Gabrielle Coco Chanel 1883-1971
42. Coco Chanel Chanel was known for her Avant Garde style.
Avant Garde: Refers to people or works that are experimental &
innovative. Gabrielle "Coco" Chanel.Evening ensemble , 1936.
Gabrielle "Coco" Chanel.Evening dress , 1938.
43.
COCO CHANEL
Gabrielle "Coco" Chanel.Day ensemble , ca. 1927 French
fashiondesigner of 1920s. Simplicity & Elegance: Chic &
Practical. Simple, sophisticated designs (functional styling).
Gabrielle "Coco" Chanel.Shirt , ca. 193537
44. Coco Chanel Gabrielle Coco Chanel.Coat and Hat, c.1920
& late 1910s. Opened her first hat shop in 1910. Later added 2
more stores & began selling clothing. In the 1900s, no outfit
was complete without a hat!
45. Gabrielle Coco Chanel.Evening Dress,c. 1920. Coco Chanel
Her pieces resembled those of Fortunys. Mariano Fortuny.Evening
Gown (Delphos Gown) , 1907. Gabrielle "Coco" Chanel.Day Dress , ca.
1924.
46. COCO CHANEL Gabrielle Coco Chanel.Dress,c. 1926. Her
designs proved that clothing could be both classic & casual.
Gabrielle "Coco" ChanelEvening coat , ca. 1927.
47. Coco Chanel Had strong belief that womens clothing needed
to posses functional features (especially during both wars).
Gabrielle Coco Chanel.Dress,c. 1927. Gabrielle Coco Chanel.Dress ,
c. 1928. Combined masculine tailoring & womens clothing. The
Little Black Dress
48. Coco Chanel 1925: Introduced legendary Chanel suit with the
collarless jacket & well-fitted skirt. Style element of mens
wear & emphasizes comfort. Gabrielle Coco Chanel.Chanel Suit ,
1929.
49. Mariano Fortuny.Tunic and Pants,1910s. Coco Chanel
Gabrielle Coco Chanel.Day Ensemble , c.1927. Both designers
incorporated a straight, loose fitting feel in their designs.
50. Coco Chanel Took pride in wearing her creations, even more
so because she was a working woman. Gabrielle Coco Chanel.Day
Ensemble , c. 1928. Gabrielle Coco Chanel.Day Ensemble , c. 1927.
Her signature look, paired with strands of pearls.
51. Coco Chanel Gabrielle Coco Chanel.Dress , c. 1935. As
lightweight materials started to popularize, Chanel began using
prints & patterns which incorporated many colours. Gabrielle
Coco Chanel.Evening Dress , c. 1930. Chanels use of lace in large
amounts was shocking because it was known to be used for
lingerie.
52. Coco Chanel Through the years, Chanel was consistent with
her designs. Today, the Chanel Suit & the Little Black Dress
are well- known & easily recognized worldwide. Gabrielle "Coco"
Chanel.Evening dress , 1938. Gabrielle "Coco" Chanel.Evening
ensemble , 1936. Gabrielle "Coco" Chanel.Cocktail ensemble , ca.
1964. Gabrielle "Coco" Chanel.Day ensemble , ca. 1927.
53. Coco Chanel Although her popularity decreased after World
War II, she staged a comeback in the 1950s, partly in reaction to
Christian Diors "New Look.Chanel went on to become one the most
important figures in the history of 20th century fashion.
54. Balenciaga Cristobal
55. CristobalBalenciaga Master of fabric design & creation.
Fashion innovator. 1895-1972 Women did not have to be perfect or
even beautiful to wear his clothes. His clothes made them
beautiful. - Longtime Client
56. Cristobal Balenciaga Cristobal Balenciaga.Dress
(Sketch),November 1948. Altered womens silhouette. Balenciaga was
one of the few designers who could actually cut & sew.
57. Cristobal Balenciaga Cristobal Balenciaga.Day Dress,Autumn/
Winter 1948. Created complex forms with cutting techniques.
Cristobal Balenciaga.Day Dress (Close-up),Autumn/ Wionter 1949.
Elegant & classic, this dress shape was similar to the garment
shape of the 19 thcentury. Dress , 1800ss.
58. Cristobal Balenciaga used a lot of fabric, but dresses were
very light.Cristobal Balenciaga.Evening Coat,Autumn/ Winter 1949.
The rolled collar on his Evening Coat puts great emphasis on the
individuals slender neck. (Gives coat more of dramatic look.)
Cristobal Balenciaga.Evening dress , Fall/Winter 196566 . (Effect
was due to refined technique.) Balenciaga
59. Cristobal Balenciaga Balenciagas designs embodied fluidity
& grace. Cristobal Balenciaga.Cocktail Dress , 1955. Cristobal
Balenciaga.Cocktail Dress (Sketch) , 1955. Balenciagas style hinted
at the classic & elegance from the past.
60. Cristobal Balenciaga Cristobal Balenciaga.Cocktail Dress ,
1955. Dress , 1800s. HisCocktail Dresstook inspiration from the
late 19 thcentury bustle style. (I.e. movement/ commotion). Wire
Skirt , 1800s.
72. Elsa Schiaparelli, 1938 shocking-pink and black striped
evening gown Elsa Schiaparelli, Evening Gown
73. Elsa Schiaparelli, The 1937 Lobster Dress Schiaparelli's
Fall-Winter 1937-38, Shoe hat Elsa Schiaparelli, Tear Illusion
Dress, 1938 Surrealism is an artistic movement and a philosophy
that first gained popularity in the 1920s. It was a movement that
believed traditional art should be replaced with anything
"anti-art" and focused on the ridiculous, the absurd, and a basic
disregard for form. Surrealism was a reaction to the philosophy of
rationalism (philosophy) the doctrine that knowledge is acquired by
reason without resort to experience , which many felt had caused,
through the Industrial Revolution, the disaster of World War
I.
74. Chanel vs. Schiaparelli Evening jacket , 1938, Elsa
Schiaparelli Gabrielle Coco Chanel.Day Ensemble , c. 1927.
75. Lady Gaga at the AMAs, 2009. Schiaparelli Skeleton Dress,
1938. Lady Gaga, Lobster Hat Striped Wedge Shoe
76. Christian Dior
77. Christian Dior
Zest is the secret of all beauty. There is no beauty that is
attractive without zest.
-Christian Dior
1905- 1957
78. Christian Dior Created a new look:Flower Women. Composed of
rounded, soft shoulders, a narrow waist, & full skirt.
79. Christian Dior Outfits normally paired with: A hat (tilted
to the side), gloves, & simple jewellery.
80. Christian Dior Dior used expensive fabrics to make his
clothes Chrie dinner dress for example was made out of silk "Chrie"
dinner dress, spring/summer 1947
81. Christian Dior
"Bar" suit and jacket, spring/summer 1947
Rounded shoulders
Very narrow waist
Full skirt
"Chrie" dinner dress, spring/summer 1947 Sloped shoulderNarrow
waist Full skirt
82. Christian Dior
"Abandon" afternoon dress , fall/winter 194849
Full skirt
Narrow waist
Soft shoulders
Different styles Same features which are a narrow waist, soft
rounded shoulders, and a full skirt
83. Christian Dior
Designed by John Galliano
Resembles the new look
Soft rounded shoulders
Narrow waist
Full skirt
Fall 2010 Couture
85.
-Known best for his revolution of textile in the fifties and
sixties.
Puccis career began by luck, he was skiing and a reporter
(Harpers Bazaar) noticed his uniform.
86. DESIGNS
Known best for his revolution of textile in the fifties and
sixties.
This revolution brought a new era to fashion, the previous
designs featuring dullcoloursand heavy fabrics was now pass.
87. Emilio Pucci, dresses
88. Puccis success brought several opportunities his way. One
being him offered to design uniforms for airlines. He designed
bright, patterned uniforms, he even included a glass helmet to keep
the stewardess hair in place Emilio Pucci, Air Hostess Uniform and
Helmet
89. POPULARITY
What made Pucci so popular was when consumer discovered how
light weight his silk dresses were. They were also wrinkle free so
several could be fit into a bag making travel very easy.
It was also, unlined, which meant it was shaped and would
caress the body, moving with their motions, opposed to it being
heavy. This allowed it to be versatile, used for poolside
relaxation or even dinner parties.
92. Emilio Pucci, Fall 2008 Emilio Pucci, Winter 2010-11
93. Hubert De Givenchy
94. Hubert De Givenchy
Hair style is the final tip-off whether or not a woman really
knows herself.
-Hubert De Givenchy
95.
Givenchys trademark was flowing lines, use of embroidered, bold
colours and print fabrics
Shows quality, elegance, and lady like fashion
Designed fun clothes inspired by modern artist
embroidered peapod motifs
Example of organic art by adding peapods
96. Hubert De Givenchy
Evening gown, ca. 1968
Used a bright salmon colour
Use ofembroidered by adding feathers
Influenced by organic art by using feathers
Evening gown, 1963
Used bright coral colour
Use of embroidered by adding beads and coral pieces
Influenced by organic art
97. Hubert De Givenchy
Embroidered beads and coral pieces
Evening gown, 1963
98. Hubert De Givenchy
Worn in Sabrina 1954 by Audrey Hepburn
use ofembroidered
Use of organic art
All three dresses are very different but show the use of
embroidered, influence of organic art, and bold colours
99. Hubert De Givenchy
Bettina blouse was part of his first collection
He used this blouse as his signature
This design still has an impact today
Galleries Lafayette one of Pairs top department stores uses it
as their symbol
Bettina Blouse
100. Hubert De Givenchy
Designed byRiccardo Tisci
Riccardos design also shows the use ofembroidered
Also shows the use of organic art by adding the feathers
Fall 2010 Couture Collection
101. Yves Saint Laurent
102. Yves Saint Laurent
"dressing is a way of life".
-Yves Saint Laurent
103.
Frequently used ethnic themes in designs
Used bright colours that contrasted with black
Had a more masculine flavour
104. Yves Saint Laurent
fall/winter 19651966
Contrast in bright colours with black
Showed more masculine features in designs
created a women pantsuit
105.
Spring/Summer 1967 African look
First to create a back to nature look
Used an ethnic theme
Shows a contrast in the bright colours and black
Decorated with seashells and tooth like beads
106.
fall/winter 20042005
Designed by Tom Ford for Yves Saint Laurent House
Used an ethnic theme (more of an Asian style)
Spring 2001 Couture
Pantsuit
A masculine design
107. Jean- Paul Gaultier
108. Jean- Paul Gaultier Avant Garde: Gaultier is always
experimenting & innovating his designs. He started
experimenting with fashion at a young age. (I.e. at 13, he designed
a whole collection of clothing for both his mother &
grandmother.) French Fashion Designer ! 1952
109. Jean- Paul Gaultier Edgy Collections. Growing up, Gaultier
had a passion for image. (I.e. Being well- known.)
detailed workmanship
Gaultiers Early Sketches.
KNOWLEDGE of fashion history
master of technique
imaginative flair
110. Jean- Paul Gaultier Gaultier took undergarments &
incorporated them in outwear. Jean- Paul Gaultier.Dress , Spring/
Summer 1987. Jean- Paul Gaultier.Dress , Spring/ Summer 1987. Jean-
Paul Gaultier.Jacket, Brassiere and Pants , Spring/ Summer 1987. He
became known as the enfant terrible, meaning the bad boy of fashion
.
111. Jean- PaulGaultier These unique designs were his signature
look. In 1990, Madonna actually wore Gaultiers garments, which
greatly increased their popularity. Jean- Paul Gaultier.Dress ,
Spring/ Summer 1987. Madonna.Singer , 1990.
112. Jean- Paul Gaultier Some of his most recognizable cutting-
edge designs included jackets, dresses, & jumpsuits. Jean- Paul
Gaultier.Jumpsuit , Spring/ Summer 1990. Jean- Paul Gaultier.Top,
Skirt, and Gloves , Autumn/ Winter 1987. The artificial glow in
fabric has been taken out, so material appears as real skin.
113. Jean- Paul Gaultier Gaultier's innovations have always
pushed theboundaries of fashion . Jean- Paul Gaultier.Haute Couture
, Spring/ Summer 2001. Jean- Paul Gaultier.Haute Couture , Fall
2003.
114. Jean- Paul Gaultier Because of the success of his brand,
Jean Paul Gaultier, also named as the successor of YSL, was hired
as the creative director of Hermes in 2003/2004.
115. Jean- Paul Gaultier Jean- Paul Gaultier always held the
audiences interest during his seasonal Houte Couture fashion shows
due to them being very extravagant & outrageous. Jean- Paul
Gaultier.Haute Couture , Spring/ Summer 2004. Jean- Paul
Gaultier.Haute Couture , Spring/ Summer 2008. Jean- Paul
Gaultier.Haute Couture , Winter 2005.
116. Jean- Paul Gaultier Jean- Paul Gaultier.Haute Couture ,
Spring/ Summer 2009. Jean- Paul Gaultier.Haute Couture , Winter
2009. All shows consisted of a theme & was mainly featured
about Gaultiers latest exotic destination.
117. Jean- Paul Gaultier
Jean- Paul Gaultiers inspiration:
Street design.
Couture from the elite.
Tradition; used same fabrics that was normally used in
couture.
Jean- Paul Gaultier.Haute Couture , Winter 2009. Jean- Paul
Gaultier.Haute Couture , Winter 2010. Jean- Paul Gaultier.Haute
Couture , Spring/ Summer 2010.
118. Jean- Paul Gaultier.Haute Couture . Gaultier is probably
one of the most targeted (by critics) of all designers because of
his originality & wild creations.
119. Jean- Paul Gaultier.Headgear (Haute Couture),Autumn/
Winter 2008-09. He has made a great impact on the fashion society
& has reinvented the concept of Haute Couture, by raising the
standards for all future designers. Jean- Paul Gaultier.Haute
Couture.
121. What is clothing? The matrix of Miyakes designs
Attempted to find universal clothing
Tried to bring eastern and western designs together
122. Designs
Often tested the boundaries of haut couture
Investigated fashion from around the world
Based several designs off the kimono
Traditional Japanese kimono Issey Miyake, wind coat
123.
Miyake would create designs with geometric shape and effortless
amounts of drapery influenced by Madeleine Voinnet
Evening dress , 1938 Madeleine Vionnet Issy Miyake, Fall 2010
124.
Miyake attempts to design clothing not based on how it looks
from the outside body, but how the materials interact and touch the
body of those wearing it. (Focused on experimenting with
materials)
Miyake has been described to base his designs on three things,
functionality, technology and beauty.
Japanese culture meets Western culture
Drapery
Functionality, will keep you warm.
Geometric shapes (patterns, how it moves on the body)
I like the body. I like to design everything to do with the
body.
-Gianni Versace
131.
Designed curve hugging gowns
Liked to create skin-tight with low cuts and high slits on the
skirts
first to show tights as pants, and first to bring back the mini
skirt
Spring/Summer 1991
132.
fall/winter 19911992
Very slim and tight
Has a high slit
spring/summer 1994
Slim and tight
Has a high slit all the way up to the waist
The high slit Very thin & tight
133.
19971998
Skin tight
Emphasizes curves
Spring/Summer 1994
Skin tight
Emphasizes curves
Has a high slit
134. Spring 2008 CoutureSpring 2008 Couture
Skin tight
Hugs curves
135. Karl Lagerfeld
136. Karl is one of the most multitalented designers known
today. Maintained his reputation through his successful and strong
collections and runway shows
137.
Signature look:
Powdered white hair in a pony tail
Black suit
Collared white dress shirt buttoned up
Even his over-all look reflects his sophisticated style in his
designs.
138. Designs
Black & white with occasional colours
Feminine
Simplicity
Quirky yet classic
Karl Lagefeld.Ensemble.Spring 2010
139.
Combining immediacy of ready-to-wear with the elegance of
couture.
Karl LagerfeldDress for House of Chanel,2011
140. Ability to mix quirky with classic changed the direction
of modern fashion Karl LagerfeldSuit. ChanelSpring 2008
141. An expert at combining elements of street style with
elegance of haute couture. Karl LagerfeldDress.Fall 2010
142.
Currently works for three houses:
Fendi
Chanel
Karl Lagerfeld (his own)
Karl Lagerfeld.Ensemble.Spring 2010. Karl Lagerfeld.Ensemble;for
Fendi . Fall 2007 Karl Lagerfeld.Ensemble for Chanel;Spring
2009
143. Lagerfeld for Fendi Karl Lagerfeld.Ensemble;for Fendi .
Fall 2007
Designs furs for fendi.
Strip the traditional fur coats to the thinnest layer = simple,
light weight coats
Careful design and elegance, sophisticated
Treats the fur like fabric: Silk, wool and cashmere are mixed
in with the fur
144. KL.
Bold tailoring
easy-to-wear pieces
Black and white, with the occasional colours
Karl LagerfeldDress.Fall 2010
145. Chanel
brought back the label to high fashion.
Produced many styles on the signature tweed suits
mix with street style
Stretched chanel look to embraceyounger customers
Karl Lagerfeld (Chanel)Suit.Spring 2008
146. Lagerfeld vs. Chanel Karl Lagerfeld.Suit . 1992. Karl
Lagerfeld. Haus of Chanel. Spring 2011 Simple, tailoredtraditional
style of Chanel; which includes the feminine vibe Padded shoulder
pads Low cut
147.
Details used in Lagerfelds designs for Chanel presented the
houses personality:femininity
Karl Lagerfeld.Suit for Chanel;Fall 2010 Karl Lagerfeld.Suit for
Chanel;Spring 2011 camellia-trimmed and beading Fabircs used;
colours feminine; faint glitter Cropped sleeves and waist of
jackets Layers used for skirts
148. Karl Lagerfeld.Suit for House of Chanel.1992 Karl
LagerfeldSuit for House of Chanel,2011 This is an example of how
fashion can change over time. Puffed Sleeves, the collar, smaller
buttons, the type of fabric he used; more feminine Adding simple
designs modernizes the clothing
149. Now lets see ifyou can tell the difference
150.
Which of these designs are from the house of Chanel and his own
house?;
How do you know?
Karl Lagerfeld.Suit. For Chanel.Spring 2008
Karl Lagerfeld.DressSpring 2010
152. At his most recent fashion show, (Fall 2010) he had a
sculpture of a lion made just for this show Shows how creative,
inspiring and determination, dedication he puts on his work.
Christian LaCroix has been accredited with designing pieces
that are glamorous, dramatic and expensive looking.
Lacroix, evening dress
156.
Began his career while working forHermsand Guy Paulin.
Became a designer for Jean Patou in 1981 where he dazzled the
industry.
Introduced the frou-frou petticoat and puffball skirt
Petticoat Lacroix, pleated shirt
157.
His collections are always based on exotic and lavish
inspirations such as primitives, modern gypsies and even a homage
to Lady Diana Cooper.
Lacroix, Spring 09, Gypsy collection
158.
I want to get back to the position where the couture becomes a
kind of laboratory of ideas, the way it was with Schiaparelli 40
years ago
- Christian LaCroix
LaCroix couture
159. Christian Lacroix, spring couture 2009 Christian Lacroix,
Fall couture 2008
160. Christian Lacroix, Fall couture, 2008 Christian Lacroix,
Patchwork dress
162. Signed to Givenchy in 1996 to replace John Galliano. But
later parted ways and created his couture line: Alexander
McQueen
163. Designs
- Impeccable tailoring and detailing
- Post-punk
- Feminine, yet edgy
- Includes Animal-esque patterns
Geometric shapes
purity of line and emphasis
- Fluid and elegant
Alexander McQueen.Ensemble; Fall 2009
164. Alexander Mcqueen.Ensemble. Some of his designs are very
tough, dark, edgy and
165. Alexander Mcqueen.Oyster Dress. 2003 But also create
something elegantCorset. Very detailed Lots of ruffles, layering.
Very luxe
166. McQueen for Givenchy
Incorporated Givenchys trademarks
Shows quality, elegance and lady-like fashion
Alexander McQueen.Dress;Spring 2011 Picture on the right shows how
also incorporated Givenchys bettina blouse.
167. Takes part in Diors New look Cinched waist, puffy dress
Exquisite detailing. Very tailored
168. Givenchy vs. McQueen Hubert Givenchy.Cocktail Ensemble ,
Spring/Summer1953 Alexander McQueen.Dress,Fall 2010 Givenchy is
more elegant, cocktail wear McQueens designs are more couture
169. Alexander McQueen.Dress;Spring 2011 Influenced by organic
art. leather pieces cut into flowers
170. Alexander McQueen.Dress,Fall 2010 Alexander
McQueen.Dress,Summer 2010 Another example of organic art. This
dress has an earthy feel; the colours used in the fabrics and how
its flowy
171. Alexander Mcqueen. 2011 Alexander McQueen.Dress,Fall
2010
172. This butterfly effect represent ruffles Phillip Lim.
3.1Sleeveless Dress;2006 Alexander McQueen.Dress,Fall 2010
173. Alexander McQueen.Shoe,Spring 2010 Lobster Claw Lobster
claw-inspired
174.
Remembered for his memorable fashion shows, tailoring,
creativity, imagination
176.
First joined Gucci in 1990.
Reinvented Guccis style:
Witty and wonderful mix of tradition and modern innovation
Also Worked for YSL in 2000
177.
Most influential designer in the world because of his knowledge
in the marketing and business industry.
178. Designs
Gloss, glamour and daring experimental designs
Known for his glamour, seductive, sexy designs
Use of fabric (silk), colour used, etc. aestheticdesigns
Exposure of the skin
179. Tom Ford.Ensemble, Evening.1996-1997 Very simple and
elegant, yet seductive. Cut-offs at the side Low cut Thin straps
Uses silk for the dress to fall on the body, highlighting every
curve
180. Gucci.Beachwear;1970s. Guccis design influenced Fords use
of cut-offs This design also shows how it influenced Fords style as
sexy. J.CrewSwimwear;
181. Tom Ford (YDL)Dress ; spring/summer 2002
YSL was known for his seductive evening gowns.
Ford incorporated this with this dress
Use of sheer fabric and many cut-offs to expose the skin.
182. Tom Ford (Gucci).Dress;spring/summer 2003 Exposure of the
leg and the deep v-neck shows fords trademark style.
183.
These designers have impacted the world of fashion drastically
todays society
Continue to do so for future designers
Give inspirations.
Provides insight to the future.
They continue to show their collections as the seasons change
and new year has.
The designers grow as they show each of their collection.