1. 1. From 1900s-Present Women's Fashion Early 1900s. Early 1990s.
2. 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. 3. Life of a Designer Continued Starting new trends. Overseeing production. Managing marketing & finances. Alexander McQueen.Butterfly Hat , Spring/ Summer 2008.
4. 4. FashionTerms Haute Couture : Custom made &create certain looks.John Galliano, Dior.Dress , Spring 2007. ( Haute : High,Couture : Fashion)
5. 5. Prt-a-porter : Mass-production: many sizes. (Boutiques &Clothing Stores) FashionTerms Continued Tommy Hilfiger.Coat , 2009. (Ready-to-Wear)
6. 6. Givenchy.Dress , Fall 2010. Can you guess which design representsHaute Couture& which design representsPret-a-porter? Gucci.Ensemble;Fall 2003
7. 7. What isSTYLE? John Galliano, Dior.Dress , Spring 2007. Hubert de Givenchy.Haute Couture , Fall 2010. Karl Lagerfeld.Chanel House , Winter 2010.
8. 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. 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. 10. Trends I.e. Harajuku Current style Followers Trend setters Colour Block Trend , London. Harajuku Girls. Harajuku Girls.
11. 11. Evolution
    • Manufacturing & Technology Changes:
    Innovations modernized life & impacted fashion industry.
    • • Electricity powered clothing & textile factories.
    • • Trains brought goods to marketplaces.
12. 12. Evolution Continued
    • • Communications made selling clothes easier (phones).
    • • Photography showed buyers clothing designs.
13. 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. 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.
15. 15. Changes in Society
    • Late 1800s:
    • Perfect Fit
    • • Corset
    • • Hourglass silhouette
    • Lace, satin, beads, velvet, nets.
    Corset , 1902. Corset , 1800s. Hoop frames , 1800s.
16. 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. 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. 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. 19. Wire frames were used toemphasizewomanly features (were put underneath dresses & skirts). In the Past Continued Dress , 1800s. Wire Skirt , 1800s.
20. 20. In the PastContinued Different types of hoop framing. Hoop frames , 1800s.
21. 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. 22. DESIGNERSDAY1
    • Mariano Fortuny
    Mariano Fortuny.Fortuny House in Venice , until 1949.
23. 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. 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. 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. 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. 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
28. 28. Mariano Fortuny
    • Spanish painter/ designer of 1900s
    • Great influence: Modernism and Art Nouveau
    • Focused on artistic element of fashion
    Mariano Fortuny.Evening Gown (Delphos Gown) , 1907. Mariano Fortuny.Evening Gown (Delphos Gown) , 1907.
29. 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. 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. 31. Mariano Fortuny.Coat,1910s. Stencil Print: traditional Japanese pattern. Design: Straight- cut structure. Art nouveau piece. Mariano Fortuny Early Designs:
32. 32. Mariano Fortuny.Gown,1910s. Resembles kimono: Long, narrow collar & sleeves. Traditional Japanese patterns. Garment underneath: Delphos Gown. Mariano Fortuny Early DesignsContinued
33. 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. 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. 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. 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. 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. 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. 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. 40. C O C O C H A N E L
41. 41. Coco Chanel A girl should be two things: Classy & Fabulous . -Gabrielle Coco Chanel 1883-1971
42. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 54. Balenciaga Cristobal
55. 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. 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. 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. 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. 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. 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.
61. 61. Cristobal Balenciaga Cristobal Balenciaga.Cocktail Dress , Spring/ Summer 1948. Evening coat , fall/winter 1950 Cristobal Balenciaga
62. 62. Cristobal Balenciaga Evening dress , fall/winter 1950 Cristobal Balenciaga Evening wrap , 195455 Cristobal Balenciaga
63. 63. Cristobal Balenciaga Day dress , 195556 Cristobal BalenciagaEvening dress , ca. 1959 Cristobal Balenciaga
64. 64. Cristobal Balenciaga.Day dress , ca. 196064. Day coat , 1964 Cristobal Balenciaga
65. 65. Evening gown , 1965 Cristobal BalenciagaDress ensemble , ca. 196566 Cristobal Balenciaga
66. 68.
    • -Leading designer of
    • the 1920-30s
    • -Was known for her unusual
    • designs and flair for the unusual.
    • Biggest rival of Coco Chanel
    • at that time
    • Was not a trained seamstress.
    Elsa Schiaparelli
67. 69.
    • She began to make a name for herself with her black knit sweaters with a white bowtie pattern knitted in.
    Designs
68. 70.
    • First designer to introduce shoulder pads and the use of hot pink within her designs; called it shocking pink
    • 1947 she introduced animal prints and zippers dyed the same colours as the fabrics.
    • Well known for her surrealist designs in the 1930s.
    • Incorporated several two-piece dining suits for woman
    Continued
69. 71. Evening jacket , 1938, Elsa Schiaparelli Evening jacket , 1938, Elsa Schiaparelli
70. 72. Elsa Schiaparelli, 1938 shocking-pink and black striped evening gown Elsa Schiaparelli, Evening Gown
71. 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.
72. 74. Chanel vs. Schiaparelli Evening jacket , 1938, Elsa Schiaparelli Gabrielle Coco Chanel.Day Ensemble , c. 1927.
73. 75. Lady Gaga at the AMAs, 2009. Schiaparelli Skeleton Dress, 1938. Lady Gaga, Lobster Hat Striped Wedge Shoe
74. 76. Christian Dior
75. 77. Christian Dior
    • Zest is the secret of all beauty. There is no beauty that is attractive without zest.
    • -Christian Dior
    1905- 1957
76. 78. Christian Dior Created a new look:Flower Women. Composed of rounded, soft shoulders, a narrow waist, & full skirt.
77. 79. Christian Dior Outfits normally paired with: A hat (tilted to the side), gloves, & simple jewellery.
78. 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
79. 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
80. 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
81. 83. Christian Dior
    • Designed by John Galliano
    • Resembles the new look
    • Soft rounded shoulders
    • Narrow waist
    • Full skirt
    Fall 2010 Couture
82. 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.
83. 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.
84. 87. Emilio Pucci, dresses
85. 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
86. 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.
87. 90. Vintage 1960s Emilio Pucci Dress Creation and Design - 1964 - Emilio Pucci
88. 91. Victoria Beckham wearing Emilio Pucci
89. 92. Emilio Pucci, Fall 2008 Emilio Pucci, Winter 2010-11
90. 93. Hubert De Givenchy
91. 94. Hubert De Givenchy
    • Hair style is the final tip-off whether or not a woman really knows herself.
    • -Hubert De Givenchy
92. 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
93. 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
94. 97. Hubert De Givenchy
    • Embroidered beads and coral pieces
    Evening gown, 1963
95. 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
96. 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
97. 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
98. 101. Yves Saint Laurent
99. 102. Yves Saint Laurent
    • "dressing is a way of life".
    • -Yves Saint Laurent
100. 103.
     • Frequently used ethnic themes in designs
     • Used bright colours that contrasted with black
     • Had a more masculine flavour
101. 104. Yves Saint Laurent
     • fall/winter 19651966
     Contrast in bright colours with black
     • Showed more masculine features in designs
     • created a women pantsuit
102. 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
103. 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
104. 107. Jean- Paul Gaultier
105. 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
106. 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
107. 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 .
108. 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.
109. 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.
110. 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.
111. 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.
112. 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.
113. 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.
114. 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.
115. 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.
116. 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.
117. 121. What is clothing? The matrix of Miyakes designs
     • Attempted to find universal clothing
     • Tried to bring eastern and western designs together
118. 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
119. 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
120. 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)
     1983, wool coat, Issey Miyake Issey Miyake, wind coat, fall/winter 1976-77
121. 125.
     • Miyake created the line Pleats Please
     • Garments made out of light polyester and fed through pleating machine, the opposite of how it is usually done.
     Issey Miyake, Pleats Please line .
122. 126. Issey Miyake, staircase
123. 127. Issey Miyake, Pleats Please line, paper dress
124. 128. Wool knit, 1989, Issey Miyake Ensemble, 1983, Issey Miyake
125. 129. Gianni Versace
126. 130. Gianni Versace
     • I like the body. I like to design everything to do with the body.
     • -Gianni Versace
127. 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
128. 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
129. 133.
     • 19971998
     • Skin tight
     • Emphasizes curves
     • Spring/Summer 1994
     • Skin tight
     • Emphasizes curves
     • Has a high slit
130. 134. Spring 2008 CoutureSpring 2008 Couture
     • Skin tight
     • Hugs curves
131. 135. Karl Lagerfeld
132. 136. Karl is one of the most multitalented designers known today. Maintained his reputation through his successful and strong collections and runway shows
133. 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.
134. 138. Designs
     • • Black & white with occasional colours
     • • Feminine
     • • Simplicity
     • • Quirky yet classic
     Karl Lagefeld.Ensemble.Spring 2010
135. 139.
     • Combining immediacy of ready-to-wear with the elegance of couture.
     Karl LagerfeldDress for House of Chanel,2011
136. 140. Ability to mix quirky with classic changed the direction of modern fashion Karl LagerfeldSuit. ChanelSpring 2008
137. 141. An expert at combining elements of street style with elegance of haute couture. Karl LagerfeldDress.Fall 2010
138. 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
139. 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
140. 144. KL.
     • • Bold tailoring
     • • easy-to-wear pieces
     • • Black and white, with the occasional colours
     Karl LagerfeldDress.Fall 2010
141. 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
142. 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
143. 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
144. 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
145. 149. Now lets see ifyou can tell the difference
146. 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
147. 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.
148. 153.
     • http://watch.fashiontelevision.com/fashion-icons/designers/karl-lagerfeld/clip98687#clip98687
     • 2:53
     • http://watch.fashiontelevision.com/fashion-icons/designers/karl-lagerfeld-special/#clip217358
     • 1:20, 3:25
149. 155. LACROIX
     • Christian LaCroix has been accredited with designing pieces that are glamorous, dramatic and expensive looking.
     Lacroix, evening dress
150. 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
151. 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
152. 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
153. 159. Christian Lacroix, spring couture 2009 Christian Lacroix, Fall couture 2008
154. 160. Christian Lacroix, Fall couture, 2008 Christian Lacroix, Patchwork dress
155. 162. Signed to Givenchy in 1996 to replace John Galliano. But later parted ways and created his couture line: Alexander McQueen
156. 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
157. 164. Alexander Mcqueen.Ensemble. Some of his designs are very tough, dark, edgy and
158. 165. Alexander Mcqueen.Oyster Dress. 2003 But also create something elegantCorset. Very detailed Lots of ruffles, layering. Very luxe
159. 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.
160. 167. Takes part in Diors New look Cinched waist, puffy dress Exquisite detailing. Very tailored
161. 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
162. 169. Alexander McQueen.Dress;Spring 2011 Influenced by organic art. leather pieces cut into flowers
163. 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
164. 171. Alexander Mcqueen. 2011 Alexander McQueen.Dress,Fall 2010
165. 172. This butterfly effect represent ruffles Phillip Lim. 3.1Sleeveless Dress;2006 Alexander McQueen.Dress,Fall 2010
166. 173. Alexander McQueen.Shoe,Spring 2010 Lobster Claw Lobster claw-inspired
167. 174.
     • Remembered for his memorable fashion shows, tailoring, creativity, imagination
168. 176.
     • First joined Gucci in 1990.
     • Reinvented Guccis style:
     • • Witty and wonderful mix of tradition and modern innovation
     • Also Worked for YSL in 2000
169. 177.
     • Most influential designer in the world because of his knowledge in the marketing and business industry.
170. 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
171. 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
172. 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;
173. 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.
174. 182. Tom Ford (Gucci).Dress;spring/summer 2003 Exposure of the leg and the deep v-neck shows fords trademark style.
175. 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.