Dezyne E'cole College. www.dezyneecole.com

1. History Of Clothing
Simran Nanikwani
2nd Year Diploma in Fashion Design (NSQF Level 6 Of NSDC)

2. Project Report
on
Fashion History
At
Dezyne E’cole college
Submitted to
Dezyne E’cole college
Towards
The Partial Fulfillment of the
2nd year Diploma in Fashion Design
By
Simran Nanikwani
Dezyne E’cole college
106/10,civil line ,Ajmer
2017-18

3. Ac k n owle dg m e nt
I Am Simran Nanikwani Student Of Fashion Department Of 2nd Year Diploma Fashion Design Of Dezyne
E’ Cole College Would Like To Express My Gratitude To Each And Every Person Who Has Contributed In
Stimulating Suggestions And Encouragement Which Really Helped Me To Coordinate My Project .
I Also Thanks Dezyne E’ Cole College Who Provided Insight And Expertise That Great Assisted The
Project. Also A Special Thanks To My Teachers Parents And Colleagues Who Came Support Me At Every
Step Not To Forget, The Almighty Who Blessed Me With Good Heath Because Of Which I Worked More
Efficiently And Better.

4. This project of Ms. Simran Nanikwani Student of 2nd Year Diploma Fashion Design as NSQF Level 6, of NSDC
has been checked and graded as
Thanks
Principal
[seal & Signature]
Dezyne E’ Cole College
civil Lines, Ajmer
www.dezyenecole.com

5. ANCIENT WORLD
Many shapes and styles in dress date back thousands of
years having necessity, function and the material available
as their starting points.
From such crude beginning wonderful piece of embroidery
decoration and reinforcement at the same time. From the
beginning we meet to splendor beautiful and full of utility
garment. The ancient world is a jigsaw of images and
objects that historians are trying to piece together.
Painting, sculpture, artifacts and scraps of clothing and
jewellery all provide clues as to how people lived and
dresses, sophisticated technology influenced each other as
cultures met through war exchange.
•EGYPT
•MINOAN CULTURE
•CLASSICAL GREECE
•ROMANS
•BYZANTINE STYLE

6. EGYPT
For three thousand years almost all clothing worn by the
Ancient Egyptians was of linen made from flax grown in the
Nile valley. The fabric suited the hot climate because it was
cool and airy. Clothes were very simple in shape with minimal
cutting of cloth.
Half-ripe flax stems made the best thread. The fibers were
beaten until soft. The fibers were twisted into strong
thread.The weaving was done on the loom. White linen had to
be washed a couple of times. They washed it in the river or
canal rinsed then it was pounded on a stone. After that it was
pounded on stone. After that it was bleached in the sun.
The silhouette was influenced by two key factors: the fitness
and finish of the lining either left with a natural crimp
laundering or arranged in crisp pleats and by the wearing of
decorative collars and belts. These accessories were rich in
colour and texture.

7. THE OTHER CLOTHES WORNED BY EGYPTIANS
WERE:-
• LOIN CLOTH:- A triangular piece of cloth worn by
commoners, nobilities and royalties. Slaves were
only allowed to wear if after the formation of new
kingdom.
• SCHENTI:- A skirt which is pleated in front worn by
nobilities and royalties. It was till knee level. Till thigh
level in the old kingdom 3000 B.C. to 2000 B.C. It was
used to wrapped around the hips which hung to folds in
front.

8. • TUNIC:- A rectangular piece of cloth with a hole in
the centre for the neck worn by pharaohs after
conquering Ceria.
• KALASIRIS:- Worn by women often by detachable
sleeves or with straps going over the shoulder. Till mid
calf or ankle length. It can be both starched or pleated.

9. ACCESSORIES AND MAKEUP:-
•HEADWEAR:- Although heads were shaven as both as
a sign of nobility and due to the hot climate, hairstyles
was a huge part of Ancient Egyptians fashion through
the use of wigs.
•JEWELLERY:- It was common for Ancient Egyptians
to be covered in jewellery, however the upper classes
wealth allowed them to be more lavish, with jewellery
made from gold and silver among other items.
Accessories were embellished with precious stones
such as emeralds pearls and lapis lazuli.
•FOOTWEAR:- Wore during the new kingdom. Made
of leather or papyrus fibre.
•MAKE-UPS:- Kohl eyeliner made of Galina ore. They
use to prevent from insects, evil eye, inflamation,
allergy and dust. Rouge which was made of ochre. Eye
shadow which was made of malachite which is red and
green in colour. They use Hena for the nail colour and
hair.

10. MINOAN CULTURE
The Loincloth was used for both men and women. The women of Crete wore the garment more as an underskirt than
the men, by lengthening it. Dresses too were long and the low-necked, like those of the 19th centuary. They were so
low that the bodice was often almost all the way to the waist.
Unlike the Egyptians, the schenti varied according to its cut and normally was arranged as a short skirt or apron
ending in a
point sticking out similar to a tail.
A triangular front released the top of the thighs. One could say it was clothing of an athletic population, because of
this and the fact that the chest always was naked. It was sometimes covered with a cask, probably ritualistically.
However, long clothing was worn for protection against bad weather and eventually a coat of wool was used by the
Greeks.

11. CLASSICAL GREECE
Clothing in this period were simple, drape, folded in artistic manner shows elegance and grace. The garments were
loose fitted and free flowing , it was adaptable to other season. The fabrics were mainly linen or wool. Women also
wore a new with their clothing whenever they stepped out of the house.
The Ancient Greek fashion was quite modern in its outlook as far as men were concerned to the extent that male
nudity was
really not a big deal in Ancient Greece.

12. MAINLY THERE WERE FOUR TYPES OF
CLOTHES:-
•CHITON:- The key garment for both men and women
was the chiton, a tunic made of two rectangles of cloth
joined at the shoulders and sides. The chiton could be
worn with a himation or without it as well. A belt was
worn with the chiton which was called a zoster. It could
be arranged in many ways, and cut to different lengths
worn over the chiton was a cloak-like garment.
HIMATION:-The himation which was made of heavy
material for outdoors, or of lighter cloth for a more
fashionable effect indoors or in warmer weather. The
himation wasloose and flowing, thus, it can be termed as a
modern cloak it was also used as a form of drapery to be
worn over the chiton.

13. • PEPLOS:- Peplos was gathered in at the waist and
partially fastened at the top of the shoulder, allowing
free corners to drape. It consisted of a tubular shaped
cloth this was folded from the inside out. There were
certain types of patterns that were used for the
peplos. Some of the common patterns included
checks, flowers, waves or even stripes.
• CHLAMYS:- Chlamys a cape shaped like the clamshell
it was named after, was originally worn by soldiers but,
like many functional garments. It was used as a cloak
and was pinned at the right shoulder.

14. ACCESSORIES AND MAKEUP:-
•HAIRSTYLES:- Women loved to wear their hair long
during this period. In the early days of Greece, men
normally wore their hair short and grew beards. Women
curled and braided their hair in early Greece. Later the
style was to tie their hair back and put it up into a bun.
•JEWELLERY:- Jewellery did form a significant part of
a ancient Greek fashion. Greece loved to wear all sorts
of jewellery with their following garments- bracelets,
earrings and necklaces.
•MAKE-UPS:- Women used honey and olive oil to
improve the skin. They often used substances as a
substitute for cosmetics enhancing their looks. Dark
powder was dusted over the eyebrows and red powder
was used over their lips.

15. HOW DIFFERENT CLOTHES THEY USED TO
WEAR:-

16. ROMAN
Probably the most significant item in the ancient Roman was the Toga, a one-piece woolen garments that draped
loosely around the shoulders and down the body and they could be wrapped in different ways. Colours of toga and
its border was determined by the wearer’s rank. Basically a semicircle the toga was woven on an upright loom,
beginning with long straight edge.

17. THE OTHER CLOTHES WORNED BY ROMANS
WERE:-
• ARMOUR:- The warfare dress coat scale, lamellar, mail
and plate, leather fabric and brigandine armours.
STOLA:- An outermost which was a long pleated dress
similar to the Greek chiton.

18. • PRIEST:- They wore Toga which was completely
draped around the body.
• TOGA:- A one-piece woolen garment that draped loosely
around the shoulder and down the body, wrapped in
different ways.

19. BYZANTINE STYLE
A fusion of Greek roman middle east and oriented styles indicate social status through clothing. The veils and silks
worn by women, and the T-shaped tunics and cloaks worn by men, were developed from Roman official dress. Poor
working people wore plain woollen tunics, knee-length for men, with leggings, boots and a long cloak on top.
•COSTUME:- There were the flowing embroidered gowns, tunic. The dresses were embellished with jewels pearls.
•FABRICS:- Imported silk, linen, wool.
•COLOURS:- Ancient people was dyes and pigment to dye their clothes skin or jewellery.

20. MEDIEVAL ROMANCE ANDTRADE
Men and women wore loose tunics based on rectangles sewn together in different styles and caught with belts. They
used to wear mantles draped over tunics with statues enhancing the lining, though leather and furs were also worn,
especially in the colder northern regions of Europe. Silk was extremely expensive item throughout the Medieval
period .
• Age of migrations- 600- 1100
• Courtly love and crusades- 1100-
1200
• Priests and the people- 1100- 1450
• The east in the west- 800- 1450

21. AGE OF MIGRATION:- 600-1100
• After western roman empire collapsed, people
started migrating. To new areas, people
needed warm, water, repelling clothes in the
cold climate, so wool was the main cloth
used. Men and women wore loose tunics,
based on rectangular sewn together in different
style and caught into belt. Mantles were
draped over tunics and had status enhancing
for leaving. Linen shirts were worn as
undergarments beneath tunics.
• ACCESSORIES:- Gold and enamel had
symmetrical CELTIC patterns or the stylized
animals favoured by Anglo-Saxons. Women’s
fine embroidery, applied to hangings, capes
and clothing imports such as silk, as well as
furs, kermes and fine wools.
.

22. COURTLY LOVE AND CRUSADES:- 1100-1200
• Fashion became increasingly flamboyant
in the 12th century a time of crusaders,
romances and chivalry. Fashion
cultivated in south spread north from
Mediterranean shores. Clothing become
fitted more seductively, showing body’s
shape to first time. Figure hugging silk
gowns revealed embroidered chemises
beneath the laced sides. Garments were
still based on rectangular and triangular
fabrics cut, but with lacing to crush
straight shapes against the curved figure.
Ordinary women wore fitted tunics ,
more closely over waist arms and hips
greater incising showed.

23. PRIEST AND THE PEOPLE:- 1100-1450
• Ordinary people wore simple clothes which
allowed them to do their work . Their clothes
were shorter and plainer and coarser. Often
have produced fabrics . Garments were made
such as aprons to carry tools. Church people
used best quality clothes with finished
embroidery and wearing to dress cardinals and
bishops. Wide brimmed hat, tippet sleeves,
pleated leather purse from belt, use of buttoned
tunics, frayed hems.

24. THE EAST IN THE WEST:- 800-1450
• In medieval times the Mediterranean basin was
the most advanced centre in the world Of
learning, Technology and trade. Expensive
textiles came from china along the ancient
Silk Road, the great trade route running
through Central Asia.

25. SOCIAL STATEMENTS:-
1200-1300
• Clothing become voluminous in the 13th century and
men’s and women’s garments followed the same
changes in shape. Tunic sleeves had tight lower arms,
but more fabrics around the armhole, and the Surcoat
(sleeveless overtunic) became a wardrobe stable.
Neckline became lower, trailing hemlines, pouline
shoes. Tight sleeves, hoods, belts, veils , gloves were
more worn, houppelande trails on ground. The
silhouette was long with high waist.

26. TRAILING ELEGANCE
• Women's gowns became high waisted with a low
cut V neck that showed a piece of contrasting
fabric underneath. The V neck would be folded
back to reveal an attractive lining. Long fitted
sleeves developed cuffs in what was called
Burundian fashion. The houppelande of 1380 was
a beautiful, full length robe like garment featuring
a high collar and wide sleeves. Later, the full
sleeves tightened at the wrist. The houppelande
fell in folds into a bell shape.
• ACCESSORIES:-The wimple, a style brought
back from the Middle East during the Crusades
caught on. A wimple is a piece of cloth worn over
the head and around the face and neck. A wimple
would be worn under a veil called a couverchef.
Men wore many types of hats and head gear. The
sugar loaf hat was a tallish, conical hat that
resembled an inverted flower pot.

27. RENAISSANCE SPLENDOUR
This was the period when fashion finally moved from draped clothing to fitted garments and the art of tailoring came into
its own. Clothing now consisted of a greater number of parts including detachable sleeves, under and overskirts,
sleeveless jerkins and breeches of different lengths. The masculine form was enhanced by the latest clothing, with its
wide shoulders, codpieces strong legs and bellies.
The fashion split there were marked regional difference in women’s dress. The medieval standards one piece tunic moved
towards broad spectrum of fashion in cut and construction. Hanging sleeves French gowns sleeves, ruffs were used on
the sleeves and on neck.

28. THE FASHION SPLIT:- 1450-1500
• There were marked regional differences in
women’s dress. The medieval standard one-piece
tunic moved towards a broad spectrum of
fashions in cut and construction. Hanging
sleeves. French gowns kept the wide, hanging
sleeves, ruffs were used on the sleeves and on
necks too.
• Headdresses often emphasized a woman’s high,
smooth forehead. Many women bleached their
hair to a fashionable blonde. Cylindrical hats of
different lengths were stylish in France, England
and low countries.
.

29. FROM DRAPE TO SHAPE 1500-1560
• Soft draped lines began to disappear as the
century went on the. Women’s dress has two
main parts bodice and skirt and sleeves were
often separate too. Full skirts widened with
gathered and pleated waistlines. Outer skirts
were opened up in front to reveal a petticoat or
forepart underneath. The Spanish farthingales
created a bell shaped and defined the century’s
silhouette. Bodice became smooth and fitted by
adding stiff materials inside.

30. ELEGANT FORMALITY 1560-1590
• As the century progressed so the gradual
stiffening of women’s dress continued. Linear
bands and braids followed the clothing’s sharp
lines and emphasized its control of body shape.
Necklines were either at bust level or up to the
chin. The silhouette stayed triangular with
narrow waists ending in sharp points and full
skirts. The top of the sleeves of women’s
dresses started to be styled into puffs, tabs, and
rolls.
• HAIRSTYLES:- Renaissance love of finery,
women’s hair during the 16th century was
parted in the centre, swept over the temples,
curled crimped arranged over pads to keep
shape, frizzled, bewigged, piled into high peaks
or hidden.

31. FEMALE GEOMETRY 1590-1625
• Fashion history’s most geometric period created
unnatural silhouettes made from straight lines,
triangles and circles. Huge ruffs isolated head from
head from body, or open collars revealed
décolletages cut immodestly low.

32. FROM REVOLUTION TO FRIVOLITY
This was a century of unprecedented and accelerated
change The world's population grew dramatically and
infant mortality was reduced by a quarter due to
improved healthcare and hygiene. The average adult
lifespan increased by a decade, and a burgeoning middle
class acquired property and possessions, patronized
department stores, and indulged in sporting activities.
Day trippers to national exhibitions and the seaside saw
fashionable society men and women at leisure and
aspired to their lifestyle and philanthropic reforms,
including educational assisted the working classes in
seeking to better themselves by working their way
factories, shops, service.

33. NEO CLASSICISUM 1790 - 1800
• Fashion of 18th century reflected a time of
upheaval. It brought more informal dress
influenced by revolutionary fervor in France.
Wrapping gowns inscribed silk and painted chints
gave way to printed cottons and plain cotton
chemise dress could be washed.

34. CHARLES FREDERICK WORTH
Charles Fredrick Worth, an Englishman from the quiet
county of Lincolnshire, was the first couturier of modern
times. Worth also set the tone for the couturier as
dictator, rapidly acquiring much of the arrogance of
French court he served, with prices to match. “Those
ladies are wisest who leave the choices to us”.
Charles Fredrick Worth created the modern couture
system that remained dominant until the rise of ready-to-
wear in the 1960s. Among his many innovations were
the sale of toiles and patterns and the use of models.
More importantly, he took dressmaking on to a higher
place through fit and construction a tradition that was
carried on by worth’s sons after his dress

35. JEANNE PAQUIN
Jeanne Paquin was the queen of haute couture for nearly
thirty years. She was the first major female couturier
running one of the biggest couture houses of early
twentieth century, employing 2,700 employees at the
height. Her rise to fame was rapid and based on applying
her own pared-down personal style to her business. That
style was founded on knits and flannels materials
generally considered only appropriate for sports clothing.
By 1915, she had opened her own fashion house. It
included her first full collection to immediate and
widespread.

36. 1800-1809
•In France the empire became fashionable from 1790s
inspired from the classical Greek and roman statue.
Waistline were high and skirts have short trails.

37. 1820-1830
•Piping of the dress. Splendor jackets and beautiful hats
appear during this time. Wide puffed sleeve emphasize
the narrow waist low deco vet age neckline emphasized
the bottle shaped neck. Off shoulder dresses were
appeared. .

38. 1830-1851
•Eli Whitney invented the cotton ginning machine in
1793 which was patented by 1807. 1804 we had
jacquard loom after the name of Joseph Jacquard. Isaac
Singer in 1851 brought the sewing machine and the
principle of assembly line developed which led to the
mass production of classes.

39. 1856-1859
•Crinolines appeared, large frames were abandoned
after 1867, skirts trailed and were gathered
internally with ties forming a soft bustles. Then
crinolettes and bustles pads took over.

40. 1870-1879
•Soft bustles and fishtails. Bodice necklines were square with exposed décolleté for
evening. Dresses had three quarter sleeve with lace cuffs and wore sleeveless for
evening wear.

41. 1886-1888
•And extremely tight steel boned corsets came in
the year 1883-18887 which look like a chicken tail.
1890-1899 during this time India was ceded to
Britain by the trite of Paris in 1898.

42. LA BELLA EPOQUE AND JAZZ AGE
This time period focused on simplification of the dress. The idea was “less is more”.
After the war the popularity of elaborate hair pieces and dresses were reduced to a replace by energetic boyish look
“The Flapper”. Always on the move- either dancing or racing around in the automobile the new style which
represent the youth fashion and fun.

43. PAUL POIRET
Paul Poiret was born on 20 April 1879 to a cloth
merchant in the poor neighborhood of Les Hells, Paris.
Poiret’s route into couture followed the common practice
of shopping around one’s drawings in original fashion
designs. In freeing women from corsets and dissolving
the fortified grandeur of the obdurate, hyperbolic
silhouette, Poiret effected a concomitant revolution in
dressmaking.

44. COCO CHANEL
Gabrielle Bonheur “coco” Chanel was a French fashion
designer and a businesswoman. She was the founder and
namesake of the Chanel brand. Along with Paul Poiret,
Chanel was credited inn the post World-War I era with
liberating woman from the constraints of “corseted
silhouette” and popularizing a sporty, casual chic as the
feminine standard of style. A prolific fashion creator,
Chanel extended her influence beyond couture clothing.

45. JEAN PATOU
Madeleine Vionnet liberated women from the corset
inspired by the celebrated dancer laadora Duncan,
whom she never met bur admired afar. Vionnet was an
important force in the history of fashion, but there was
much else beside. Her achievements overshadow her
personality. Although her skillful and original tailoring.
Should not be overlooked, It was her talent with the
draping of cloth for dresses that put her in a league of
her own.

46. MADELEINE VIONNET
Madeleine Vionnet liberated women from the corset
inspired by the celebrated dancer laadora Duncan,
whom she never met bur admired afar. Vionnet was an
important force in the history of fashion, but there was
much else beside. Her achievements overshadow her
personality. Although her skillful and original tailoring.
Should not be overlooked, It was her talent with the
draping of cloth for dresses that put her in a league of
her own.

47. FROM GLAMOUR TO UTILITY
This time period 1929-1946 use to have the designer Elsa Schiaparelli entering and during this time very simple
dress coats entered because this was the time of great depression. The main feature that we see here is the dresses
became longer at the hemlines to the floor length. And the roaring twenties came to a hawlt.

48. ELSA SCHIAPARELLI
Elsa Schiaparelli was an Italian fashion designer. Along
with Coco Chanel her greatest rival, she is regarded as
one of the most prominent figures in fashion between
the two World Wars. Starting with knitwear
Schiaparelli’s designs were heavily influenced by
surrealists like her collaborators.

49. AMERICAN READY TOWEAR:-

50. OPTIMISUM ANDYOUTH
The new word was came during this time (the teenager they wanted clothes just for themselves his was the Elvis
wore leather flight jacket and military surplus.

51. CRISTOBALBALENCIAGA
Designer from Spain. His creations had broad shoulders,
and he removed waist.

52. CHRISTIAN DIOR
Circular skirts, Wasp shaped skirt Christian Dior
introduced in 1954 Autumn Winter Collection(classic
look) the pencil skirt after seeing the hobble skirt after
seeing the hobble skirt of Paul Poiret.

53. MAINBOCHER
The long title of American courtier Mainbocher
spanned a remarkable period in the history of fashion,
from the frothy collection of the belle époque to the
ready-to-wear explosion of the 1960s and 1970s. Late
in his career, when he was in his seventies. Mainbocher
showed he could still lead the way with a series pared-
down dresses, including a bias-cut white crepe dinner
dress. He was proud to be descended from French
Huguenot's pioneers who arrived in America in the
1640s.

54. SWINGING SIXTIES
Clothing styles have always mirrored the
prevailing attitudes of the time and this is
certainly true of fashion in the 1960s. The decade
was marked by sweeping social; change and the
domination of youth culture- baby boomers were
growing up and demanded their own fashion
style. Designers responded with much more
liberal, daring approach to fashion, boasting
colourful fabrics and bold designs. Clothing
broke with social traditions that dictated what
could be worn when and by whom. In the past
attire had been divided n to ‘formal’ and ‘casual’
wear, and distinct separations were made between
the styles of clothing worn by men and women.

55. MOD LOOK
Mod, short for ‘modern; refers to a youth lifestyle that
emerged from London during the 1960s, and quickly
spread to America, Europe, Australia. Centered around
London’s thriving pop music, art and fashion scene, the
mod lifestyle focused on innovation and the ‘new’ Mod
fashion was slim fitting and featured bold geometric
shapes. Colour was also a key concern- the conservative
greys, browns and pastels of the 1950s were replaced by
bright wild hues.

56. YVES SAINT LAURENT
Yves Saint Laurent was, in the words of the man closest
to him, born with a nervous breakdown. Even so he was
also probably the most influential fashion designer of the
second half of the twentieth century, Saint Laurent
reinvented Paris fashion for the young, giving the women
of the baby boomer generation a new wardrobe stocked
with easy, youthful clothes which, in their energy,
flirtatious assertiveness and borrowings, prefigured the
social and political emancipation women were just
learning to crave

57. THE DESIGNER DECADE
In the modern age, fashion designers have become
celebrities and catwalk shows are major events Late in
the 20th century creativity reached new heights and
designers began to use the runway show as theatre, as in
Alexander McQueen's Springs Summer 1999 Collection,
where machines spray painted the models" dresses in
front of the audience. The London Designer collections
were established in the 1980s, and fashion journalists
and buyers travelled to New York, London. Milan, and
Pars every spring and autumn to view the collection for
the following season. The power of the brand, from
Armani to Burberry became international-designers'
names sold products. Calvin Klein's fragrances for
example. sold an aspirational lifestyle, and his
underwear line in the 1990s was so famous that the
garment became known simply by the designers name.
For the first time, fashions emerged from the street not
the design studio. Towards the end of the 20th century
the dress of sub-cultural groups from Goths to surfers
became increasingly mainstream. The freehand
authentic feel to street style seized the imagination of
designers, and the styles themselves became more
complex as designers adapted and reworked them.

58. JEAN PAUL GAULTIER
The long lasting image of Jean Paul Gaultier as a
perpetual enfant terrible of French fashion took many
years to lay to rest. But now the great iconoclast of
Modern French Fashion has become part of
establishment he once shunned. His clothes made all the
headlines but were considered unwearable skirts for men.
His experiments with sportswear, stretch fabrics and
underwear used as outerwear were influencing all levels
of the fashion market.

59. VIVIENNE WESTWOOD
In terms of creativity and the ability to place fashion at
the heart of a vital popular culture, Vivienne Westwood
may be the greatest designer of the twentieth century.
Her method is not so very different from that of many
designers, particularly other British designers trained in
an art-school tradition.
Clothing has always reconstructed and modified the
structure of the body and it still does today. What seems
to surprise and upset people is reconstructions that don’t
accord with what they consider to be the norm, the
present accepted idea of beauty. If you design a dress
with a sellier, the padding that gives it a rounded form
has become a subversive act.

60. ISSEY MIYAKE
In the introduction to the first book on the work of Issey
Miyake, East Meets West, published in 1978, Diana
Vreeland, then retired from US Vogue and heading the
Costume Institute at the Metropolitan Museum of Art in
New York, wrote, ‘His clothes are totally his and his
alone. Miyake’s vision is unique. He was the precursor,
leader and mentor of a new school of Japanese design,
which took the fashion world by storm in the early
1980s. He was not the first Japanese designer to find
fame in the West, but he was the first to create something
new and revolutionary. He drew deeply on both oriental
and occidental traditions of dress to produce the hybrid
style that was to change everyone’s perceptions of what
clothing could be.

61. Thank you