fashion is a prevailing type of clothes by large segment of people at any given time. prepared by fekadu labena

1. HISTORY OF FASHION
Target Group: 3rd Year Apparel and Fashion
Design Students
BY KUMSA .T

2. What is fashion
• An accepted day to day way of dressing at a given time.
• The term implies four components : Style , Change ,
Acceptance and Taste .
“fashion is like a fruit ,you couldn't eat it a day before and
you can`t eat it a day after its juts about today's ”
Albert Elbaz

3. “Fashion is not something that exists in dresses only.
Fashion is in the sky, in the street, fashion has to do with
ideas, the way we live, what is happening”
Coco Chanel

4. Fashion terminologies
• Clothes :- It is a collective term for all items of apparel
worn by men, women & children
• Costumes:- The term costume can refer to wardrobe or
dress of a certain period in history, people or class.
Costume also refer to the artistic arrangement of
accessories in an artistic theatrical performance.
• Silhouette:- Contour or outline as shown in a solid
black background on white background. general outline
of garment.

5. • Designs that have the same characteristics are referred
to as a style, such as a blazer-style jacket , an empire-
style dress, or an envelope-style handbag. A style may
come and go in fashion , but that specific style always
remains that style , whether it is in fashion or not . For
example , the polo shirt style will not always be in
fashion , yet it will always have variations of the same
styling and details, which make it a polo shirt.

6. style
• Style in any particular characteristic or look in apparel or
accessories.
• The manufacturers assigns a style number to each new
design in each collection, which is used to identify it
throughout production , marketing and retailing.

7. change
• What makes fashion interesting is that it is always
changing.
• Designer karl lagerfeld said, ‘what i like about fashion
is change. Change means also that what we do today
might be worthless tomorrow.
• Fashion is a train that waits for nobody . Get on or its
gone.

8. • Many people criticize the fickleness of fashion, saying
that fashion changes only to stimulate buying. And it is
true that if fashion never changed, the public would not
buy apparel and accessories so often.
• However, fashion is one way for consumers to visually
express their relationship to current events and to life
itself.

9. Acceptance
• Acceptance implies that consumers must buy and
wear a style to make it a fashion .
• Karl Lagerfeld remarked , ‘There’s no fashion if
nobody buys it’. It is then up to the public to decide
weather these styles will become fashion.
• Acceptance , that is , purchases by a large number
of people, makes a style into fashion.
• The degree of acceptance also provides clues to
fashion trends for coming season.

10. Taste
• An individual's preference for one style or another is
referred to as a taste. ‘Good taste’ in fashion implies
sensitivity to what is beautiful and appropriate .
• People who have good taste also understand quality and
simplicity.
• Good taste is developed by extensive exposure to
beautiful design.
• People also develop individual tastes, often referred to
as ‘personal style’.

11. Fashion cycle
• Period of time or life span during which fashion exists.
• Fashion Acceptance is usually described as a fashion
cycle.
Fashion cycle is depicted with five stages.
• Introduction
• Rise in Popularity
• Peak of popularity
• Decline in popularity
• Rejection

12. Introduction of cycle
• New styles introduced in high price level.
• New apparel and accessory styles by changing elements
like line , shape , colour , fabric and details.
• High production cost
• Small quantity in production
• More flexibility in terms of design
• Style and Newness
• politicians and Wealthy group of people who can afford .

13. Fashion cycle
• Period of time or life span during which fashion exists.
• Fashion Acceptance is usually described as a fashion
cycle.
Fashion cycle is depicted with five stages.
• Introduction
• Rise in Popularity
• Peak of popularity
• Decline in popularity
• Rejection

14. Introduction of cycle
• New styles introduced in high price level.
• New apparel and accessory styles by changing elements
like line , shape , colour , fabric and details.
• High production cost
• Small quantity in production
• More flexibility in terms of design
• Style and Newness
• politicians and Wealthy group of people who can afford .

15. Increase in popularity
• Thus selling the garment at lower prices.
• Manufacturers adopt designs and styles to produce with
less expensive fabrics or less detail.
• More affordable and more availability
• Acceptance by more people
• Adaptations and changes
• Mass production

16. Peak of popularity
• More manufacturing
• Various Price levels
Knockoffs – A knock off is a copy of someone's design .Usually
a garment that is already a best-seller for another manufacturer.
• Fashion most popular and accepted
• Length at this stage determines
if fashion becomes a classic

17. Decline of popularity
• Fashion conscious people get tired of same styles in every
store in the market .
• Looking for something new .
• Consumers still wearing those styles but not willing to buy
the same product at the same price.
• Many Shoppers waiting
for sales to buy the products at deflated prices .

18. Rejection of style or obsolesce
• Already turned to another new look thus beginning a new
cycle .
• Styles out of fashion .
• Style is not accepted with any price .

19. Length of cycle
• Classics– Acceptance for an extended period , simplicity
of design . Example – Chanel suits( 1950) gained
popularity in 1980’s and 1990’s . Cashmere sweaters ,
polo shirts , jeans and ballet flats.
• Fads– short lived fashions , lack of design strength to
hold a customer attention for long . Narrow consumer
group. Example – pony prints or charity wristbands .
• Cycles within cycles– Design elements may change in
terms of colour , texture or fit but the style remains the
same .

20. • Jeans became a fashion item in late 1960’s giving space
and shape to various product line of the same.
• Recurring cycles is Resurfacing of the same fashion .
Designers borrow ideas from the past. Nothing is exactly
the same also nothing is totally new.
• Different fabrics , colours and details which makes the
look unique to today .

23. Factors affecting fashion movement
• Consumer acceptance and desire
• Economic acceptance - affordability
• Social acceptance
• Adaptations
 Fibers , fabrics, textures
 Color
• Marketing - Advertising techniques
• Fashion Leaders

24. Theories of Fashion Movement
Fashion Trend
• Direction of the
movement
• Depends on where the
fashion began
• Trickle-Down Theory
• Trickle-Up Theory
• Trickle-Across Theory

25. Trickle-Down Theory
• Movement of fashion starts at
the top socioeconomic status
of consumers.
• Fashion then accepted
“down” to the general public
• Oldest and most accepted
theory.
Fashion trendsetters
Fashion adopters

26. Trickle-Up Theory
• Fashion movement starts with
lower socioeconomic levels.
• Acceptance by
consumers with higher
incomes
– Athletic apparel style
– Jeans
– Hair style
– Punk style
Fashion
adopters
Fashion Trendsetters

27. Trickle-Across Theory
• Fashion acceptance begins among several
socioeconomic groups.
• All price levels at same time
• Quality and lines vary
• Most prevalent in 21st century - technology

28. Consumer identification
• Fashion Leaders
• Fashion innovators , motivators or role models
• Fashion victims
• Fashion Followers
• Individuality

29. Fashion Leaders
• Before the fashion is generally accepted by the general
public , these are those people who pick up the trend
or style and wear it .
• They are confident and have stylist to advice them to
Attracting the attention of others.
• Usually they fall in two categories named fashion
innovators and fashion Models.

30. • Fashion innovators create fashion statements ,
aggressively looking for interesting new styles , colours ,
fabrics and ways to accessorize .
• Fashion motivators or role models are those who
have beauty to carry every look graciously or have
wealth to become role fashion models. Mostly these
people are in media , including royalty , politicians , TV
and film stars , rock stars and super models .

31. • Fashion Victims – Those have too much money to spend
on designer brands thus becoming brand slaves with no
creativity of their own . Are people who blindly follow a
brand without any analysis .

32. Fashion Followers
• Fashion needs followers or it would not exist. These
people imitate others only after they are sure of fashion
trends. They want more acceptance to what they are
wearing thus they encourage bigger network of fashion
followers in their family and friends .
• Imitating people they admire.

33. Individuality
• Mixing unexpected garments , prints , colours and
textures together making individual decision .
• Exclusive combination of brands and designer wear .
• These are those people who create fashion in a very
eclectic way and present a new fashion trend.

34. Fashion designer
• Someone who loves to
• Study fashion trends
• Sketch designs
• Select materials, and
• Create clothing and accessories.

35. Qualities of a Great Fashion Designer
 Highly Creative
 Strong Drawing Skills
 Computer skill
 Strong Sewing Skills
 Good Communication
 Good Eye for Materials
 Strong Visualization Abilities
 Knowledgeable of Current Fashion Trends

36. Why do we wear clothes?
 For Protection
 For Identification
 For Adornment
 For Safety
 For Cultural Reasons
 Indicate Social Status
 For Smart Purpose

38. Quiz 1 5%
1 List and explain factors of affecting fashion movement 1.5 marks
2 Discuss theories of fashion movement 1.5 marks
3 Write stages of fashion cycle with in diagram 2 marks

39. Modern fashion design is roughly divided into
two main categories. Haute Couture and Prêt-
a-Porter.
Types of fashion

40. Haute Couture
 Haute Couture is a French word for "high
sewing" or "high dressmaking". It refers to
the creation of exclusive custom-fitted
clothing.
 Haute Couture is made to order (custom
made) for a specific customer, and it is
usually made from high-quality, expensive
fabric and sewn with extreme attention to
detail and finish, often using time-consuming,
hand-executed techniques.

41.  It originally referred to Englishman Charles Frederick Worth's
work, produced in Paris in the mid-nineteenth century.
 In modern France, Haute couture is a "protected name" that can
be used only by firms that meet certain well-defined standards.
However, the term is also used loosely to describe all high-
fashion custom-fitted clothing, whether it is produced in Paris or
in other fashion capitals such as Milan, London, Rome, New
York and Tokyo.

42. prêt-à-porter
 Prêt-à-Porter is the French word for the term “Ready to Wear”.
Ready-to-wear or Prêt-a-Porter is the fashion design term for
clothing marketed in a finished condition (ready made), in
standard clothing sizes. In the fashion industry, designers
produce ready-to-wear clothing intended to be worn without
significant alteration, because it is by far the most economical,
efficient, and profitable way to produce garments. They use
standard patterns, factory equipment, and faster construction
techniques to keep costs low, compared to a custom-sewn
version of the same item

43.  Some fashion houses or fashion designers create ready-to-wear
lines that are mass-produced and industrially manufactured, while
others offer lines that are very exclusive and produced only in
limited numbers for a limited time usually to specific wholesaler/s.

44.  Ready-to-wear collections can also be divided into designers /
creator collections and Confection collections.
I. Confection collections or Mass Market
Are the ones we see most commonly in our shops. Stylists design
these collections. The brands that produce these collections aim
only for a mass public and are in the general not searching for a
new point of view on fashion.
II. Designer / Creator collections
have a high quality a superb finish and a unique cut and design.

45.  These collections are the most trendsetting compared to Haute
Couture and Confection. These ready to wear collections often
contain concept items that represent a certain philosophy or
theory. These items are not created for sales but only to create a
fashion trend. The designer’s ready-to-wear collection is also
modeled on international catwalks.

46. Areas of Fashion

47. Fashion Trend
 It is the direction in which fashion is moving. This helps the
manufacturers and merchants to decide whether to promote the
fashion to the customer or to abandon it.
 Fashion forecasters look for the styles they think are
prophetic, ideas that capture the mood of the times and signal a
new fashion trend.

48.  Very often, a new trend appears in small doses until it spreads
to other collections. Evaluating the collections becomes one
way a designer, working for a mainstream manufacturer, can
research fashion direction. For retail buyers.

49.  It is becoming a huge challenge to figure
out which trends will become fashion
basics, like capris, and which are only
fads, such as pony prints. Empowered by
the Internet and television, global trends
are moving at an accelerating pace.
 The life-span of a trend is now about five
months instead of a year. For the junior
market, the span is only three months.

50. Fashion Forecasting
 Fashion forecasting is a process by which researchers and people
working in the fashion industry, try to analyze trends in the current
market situation and then attempt to predict the trends for future
market by analyzing political, cultural, social and other
multimedia factors that can influence fashion. It is a prediction of
fashion colors, textures, designs, silhouettes and styles that
become popular.

51. Ancient Egypt
 The Egyptian civilization flourished for three thousand years.
Historians divide it into three main periods, or kingdoms: the
Old, the Middle, and the New Kingdom.
 The Old Kingdom is characterized by a dynamic periods in the
development of Egyptian art and architecture.

52. …Cont’d
• In ancient Egypt, linen was a valuable commodity used for
clothing, bedding, blankets, cushions and other purposes.
• In general, the bandages used to wrap a mummy were torn from
old linen sheets, but a number of the bandages from
Tutankhamun's embalming cache, including this one that has a
selvedge edge on both sides, were specially woven for this
purpose.

53. ...cont’d
• Egyptians of the Old Kingdom wore a loincloth made of
woven material, which was wrapped several times round the
body and kept in place by a girdle. In addition to this a wrap or
a speckled skin was hung over the shoulders.

55.  Elaborate broad collars were worn by the Egyptian elite for a
variety of festival and religious occasions. These could be floral,
made from actual plant material , or crafted from individual
elements of faience, metal, or semi precious stone.
The middle kingdom

56.  In the late Middle Kingdom/early New Kingdom sandals became
more prominent. They still weren’t worn on a day to day basis,
though. They were mostly worn on special occasions. By the New
Kingdom everyone expect the very poor had a pair of sandals.

57. Middle Kingdom/early New Kingdom
 sandals became more prominent. They still
weren’t worn on a day to day basis, though.
They were mostly worn on special occasions.
 These shoes demonstrated social class just as
clothing. The lower classes had sandals made
of reeds (fig. 1),
Upper classes of leather.
 The more wealthy you were the more heavily
adorned your sandals were. They could be
decorated with beads, (fig. 2)
 beads of precious metals like gold. (fig. 3)
There were sandals with buckles and cloth
adornments as well.
(fig. 1) A pair of
reed sandals.
(fig. 2) Beaded
leather sandals
(fig. 3)
Leather sandals
embroidered with
precious metal beads

58. The New Kingdom
 A garment for both genders, which was introduced shortly after
the establishment of the New Kingdom.
Kalasiris
The long type of kalasiris that covered the body up to the neck was
made from a rectangular piece of material twice as long as the
garment. Fig 4.

59. Hair and Wigs
 Most Egyptian men were clean-shaven and kept their hair fairly
short, although some noblemen had longer hair.
 By the time of the New Kingdom noblewomen wore their hair
long.These long tresses were sometimes worn loose and
sometimes curled and braided.

60. Ancient Rome
 Was an Italic civilization that began on the
Italian Peninsula as early as the 8th century
BC. Roman toga which was derived form it of
a semicircle of cloth.
 Sometimes it was rectangular and formed a
kind of cloak. The toga, a distinctively Roman
garment, resembled a double tebenna.

61.  Women wore a stola draped over their tunics, which
were longer than the men’s tunics. Stolas were usually
made of cotton or wool. Women also wore a palla over
their stola. The palla was worn much like a shawl.

62. Toga
• Roman toga which was derived form it of a semicircle of
cloth. Sometimes it was rectangular and formed a kind of
cloak. The toga, a distinctively Roman garment, resembled
a double tebenna. It was in shape probably like two large
segments of a circle, equal in size, placed with the straight
edges together (Fig. 113),

63. Tunica – Under garment
 The under-garment and the actual indoor dress .This was a
kind of shirt, cut fairly wide, closed all round, and reaching to
below the knee.
 The sleeves (when the garment had these) covered the arms to
the elbows. of the Romans was the tunica.

64. Paenula
• Bell shaped garment
• Worn in cold weather
• Normally close all round but sometimes
open sown the front.
• As a rule hood attached it. But not always

65. Hair styles in ancient Rome
 In ancient Rome women could do what ever they wanted to do with
their hair. They could colour it, curl it or chop it off if they wanted to.
Hair curlers, pins, and hair net were commonly used. They used pins
made out of wood, ivory, crystal, silver or painted bone.

66. Ancient Greece
 Ancient Greek society had an elite of wealthy, well-educated
people.
 Greek clothing was made out of types of materials. The first
mostly used was wool which was woven from very coarse to very
soft. They used linen grades from fine to very soft. Drapery in
Greek culture did not fold crisply like Egyptian folds fell and the
linen was not as stiff as the linen used in Egypt.

67.  Himation A rectangle of wool, worn
by married women, with the corner
over the head like a shawl. The colors
were natural wool colors: white,
browns, and black; or died scarlet,
crimson or purple. The garment
sometimes had woven patterns,
selvages, and embroidery.

68.  Cloak Most men wore a cloak, with the right hand corner flung
over the left shoulder and covering the left arm. Under this they
wore a long pleated shirt braided at the neck and down the seam.

69. Hairstyles in ancient
Greece also changed over time
 In the early days of Greece, men normally
wore their hair short and grew beards.
 During the Hellenistic era, beards went out
of style.
 Long hair was typical for Greek women;
only slave women would wear their hair
short.
 Women curled and braided their hair in early
Greece Later the style was to tie their hair
back or put it up into a bun.

70. • The essential garment, the chiton,
being a simple rectangle of cloth
folded round the body
• There were two main styles of
chiton.
1) Doric chiton was a sleeveless
tunic,
2) Ionic chiton had elbow-length
sleeves, which were fastened at
intervals across the shoulders.

71. • The right arm, so that this arm and the
right shoulder were bared. Yousometimes
the clock was draw under ng men in
general, and horsemen in particular, wore
over the chiton a kind of short cloak,
usually fastened on one shoulder and
known as a chlamys

72. …cont’d
A rectangle of wool, worn
by married women, with the corner over
the head like a shawl. The colors were
natural wool colors: white, browns, and
black; or died scarlet, crimson or purple.
The garment sometimes had woven
patterns, selvages, and embroidery.

73.  Most men wore a cloak, with the right hand corner flung over the left
shoulder and covering the left arm.
 Under this they wore a long pleated shirt ( chiton) braided at the
neck and down the seam.

74.  The female form of the chlamys was known
as the peplos and, like its male counterpart,
was worn over the chiton, which reached to
the woman’s feet.
 made of very fine material, even of silk, in
spite of the law restraining the luxury of
female garments
 Made of richly patterned material.
 tubular in shape, The upper edge being turned
down to the waist.
 It was put on over the head and made to fit
closely at the shoulder with fasteners.
 the garment of the Dorian women, was worn
at first without a girdle.

75. • Numerous styles of footwear were worn by ancient Greeks.
The type of footwear and clothing worn by individuals differed
in accordance with an occasion, and rank of an individual.
Footwear was of vital importance in ancient Greek fashion.
Sandals and half boots with specific carving, or marking on
leather were worn by individuals to represent their status.

76. • A crude form of arbelos, a shoe making tool which had a thick
sharp blade was used to cut and shape leather. Both sexes wore
numerous types of sandals that were fastened in different
ways.
that left the toes bare were popular among individuals.
• The types of footwear worn in ancient Greece were:

77.  Embades
 Krepis
 Buskin
 Talaria
 phaecasium
This boot was designed and cut in different styles. To ensure
comfort to the wearer, the boots had an enclosed shape. Felt or fur
was used by shoemakers to design the outer lining of these boots.

78. krepis
These boots were designed for the
outdoors. Half boot designs and flat sandal
designs made with soles made from
cowhide leather were popular among
individuals in ancient Greece. Because of
their durability, numerous designs of these
shoes were worn in military combat by
soldiers. The uppers of these boots
consisted of a cross stripped design.

79. Buskin
 These boots were made from cloth or leather with
closed laces overlapping each other in a crisscross
design.
 The length of these boots varied in accordance
with an individual’s preference.
 Calf length and knee length boots were worn by
soldiers, hunters and actors in Greek theater.
 Hunters and travelers preferred wearing buskins
that covered the entire shin as it protected them
from poisonous bites from reptiles at night.
 Luxurious buskins with intricate designs and fur
covering were worn by affluent individuals.

80. Talaria
• Wings on sandals were symbolic of courage,
bravery and swiftness in ancient Greece.
These sandals were worn by individuals that
were swift, fleet-footed and known for their
valor.

81. • These were boots worn by priests, countrymen
and philosophers. A variety of these shoes were
also worn for ceremonies and rituals. Boots with
elegant embroidery patterns were popular among
women. These shoes were made from leather,
felt or linen. Shoes and boots worn by women
were adorned with pearls and ornaments to
signify their status.

82. • In the early days of Greece, men
normally wore their hair short and grew
beards.
• During the Hellenistic era, beards went
out of style.
• Long hair was typical for Greek women;
only slave women would wear their hair
short
• Women curled and braided their hair in
early Greece
• Later the style was to tie their hair back
or put it up into a bun.

83. • Here is evidence that ancient Greeks had
necklaces, earrings, pins, pendants, armbands,
thigh bands, bracelets, rings, wreaths, diadems,
and other fancy hair ornaments.
• Bracelets were often worn in matching sets or
pares
• Jewelry usually had pearls, gems or semiprecious
gems.
• Popular earring designs included: angels flying ,
such as Eros, Nike, and Ganymede carried up by
the eagle of Zeus to Mount Olympus.
• Jewelry was often passed down from generation
to generation.
• Jewelry was sometimes made as an offering to
the gods.

84. Egyptian cosmetics were made from ground minerals mixed with
oils.
Green and black eyeliners were made from malachite (copper ore)
and galena (a type of lead),
The Egyptians took a lot of care over making up their eyes; they
outlined them with heavy lines,
Green eyeliner was used in the early period, but later black became
very popular. Red brown henna, made from the leaves of the henna
tree, was used to paint nails and possibly hands and feet, and henna
was also used to dye hair and wigs. Cosmetics were prepared and
stored in jars and bowls, and sometimes in hollow reeds.
 Makeup was applied with the fingers or with a special wooden
applicator. To help them apply their makeup, the rich used mirrors
made from highly polished metal.

86. Effects of World War I (28 July 1914 -11 November
1918.)
The Status of Women
• World War I put women in the workforce and gave them new
rights and practical clothing.
• Before 1900, very few women worked outside the home.
Without a prominent place in business, women had no
authority and no rights.
• The status of women has changed firmly on their participation
in the working world.

87. Cont’d
 During the war, the absence of men forced women to take on
new roles and responsibilities.
 women wore working uniforms of blouses, overalls or
trousers with caps in ammunition factories.
 The serious mood of the nation and mourning for the dead,
reduced people's interest in elegant dressing.
 From the economic point of view, decreased domestic
production and currency restriction strengthened the trend.
Several couturiers closed their business.

88. Cont’d
 Dark colored clothes were widespread.
 Replacing decorative styles with simplicity.
 This led to skirts rising from above the ankle to the mid calf.
 This also led to the adoption of silk stockings as a symbol of
luxury and low-cut shoes instead of high boots.
 The clothes became more uniform-like with a tailored look.
The cut of men's costumes also remained constant with
reduced details since they now led a more active life.

89. • The functional working clothes worn by these women had a great
impact on fashion.
• A trend toward in women's fashion emerged:
decorative details disappeared in favor of a tailored look that
imitated businessmen's suits.

90.  Corsets were discarded and the curved
Hemlines shortened and skirts
widened to permit freedom of movement. No one wanted or
had time for complicated dressing. This change coincided
with the because of
rising labor costs and resulted in the democratization of
fashion.

92. Ready-to-Wear
 The need for the convenience of ready-made clothing made the
apparel industry grow and made ready-to-wear clothing even
more acceptable.
 The ready-to-wear apparel industry began to prosper when
designers such as Poiret, Vionnet, and Chanel simplified styles
and thereby construction

93. cont’d
 The period between the wars was dominated by 3 women
designers: Gabrielle 'Coco' Chanel, Madeline Vionnet and
Elsa Schiaparelli.
1. Vionnet produced exquisite dresses cut on 'bias' grain (45
degree grain) which curved and clung to the body. She is
acknowledged as the creator of the 'cowl neck' and 'halter
neck'.
2. Chanel's designs for the new woman were born out of her
immense practical sense. She designed the blazer, boxy suits
with chains
3. Schiaparelli had an artistic approach to design using
unpredictable motifs like lobsters, skulls, as well as humorous
accessories and trims.

95. II(lasted from 1939 to 1945)
• The war once again affected the clothing industry as it did all
other facets of life. For a while it seemed to severally restrict
couture, the capital of which was Paris.
• World War II gave an opportunity for American designers to
flourish and for designers from other countries came to
America to start their business. American designer Claire
McCardell designed comfortable separates (separate items of
clothing) thus introducing the very popular category of
sportswear.

96. …Cont’d
• In 1940, Vogue reported on the New York collection openings.
With Mainbocher as an example of success, other American
designers such as Claire McCardell, Hattie Carnegie, and Vera
Maxwell gained recognition.
• Claire McCardell, considered the top American designer of
this time, was credited with originating the "American Look"
in practical separates, inspired by the work clothes of farmers,
railroad engineers, soldiers, and sportsmen.

97. (1939-1945)
• American designers became especially skilled at and known for
their sportswear, reflecting the more casual American lifestyle,
which would eventually influence the rest of the world
Sportswear.
Changing the trend and silhouette
• Fashion remained relatively stable during the war years. The
U.S. government's wartime regulations restricted the use of
fabric and hardware.
• Functional clothes became a necessity as women doing war
work wore uniforms or work clothes

98. …Cont’d
• Women's suits were heavily influenced by military uniforms.
The result was a masculine silhouette for the women who now
shouldered the responsibilities at home.
• The austerity of the early 1940s saw another shift in the
silhouette, with hemlines shortening, hats taking on a new
significance and shoulder pads adding emphasis to a squared-
off shoulder-line
• Utility dressing became practical necessities.
• Utility clothes typically featured squared shoulders, narrow
hips, and skirts that ended just below the knee. Tailored suits
were the dominant form of utility fashion

100. …Cont’d
• In this time period, there was a law which restricted the
manufacture of clothing. Ruffles were forbidden. Only one
pocket per blouse or shirt was allowed.
• Hems could be no deeper than 2 inches and the widest part of
the hem of a dress could not exceed 72 inches. Hemlines rose
and levelled off just below the knee.
• For men several things were removed: cuffs, vests, patch
pockets, cloth belts, and pleats.

101. cont’d
• In 1940, Vogue reported on the New York collection openings.
With Mainbocher as an example of success, other American
designers such as Claire McCardell, Hattie Carnegie, and
Vera Maxwell gained recognition.
• Claire McCardell, considered the top American designer of
this time, was credited with originating the "American Look"
in practical separates, inspired by the work clothes of farmers,
railroad engineers, soldiers, and sportsmen.

102. Cont’d
• Women's suits were heavily influenced by military uniforms.
The result was a masculine silhouette for the women who now
shouldered the responsibilities at home.
• The austerity of the early 1940s saw another shift in the
silhouette, with hemlines shortening, hats taking on a new
significance and shoulder pads adding emphasis to a squared-off
shoulder-line

103.  By 1947, after WWII was over, the "New Look" began to replace
the wartime utility fashions. The introduction of Christian Dior’s
New Look in 1947 changed everything and heralded(be a sign) a
new femininity. The New Look gave women a softer, more
feminine look and curve. This look was stylish, elegant, and
reflected the opposite of wartime restrictions.

104. …Cont’d
• This new style embraced femininity, with rounded shoulders,
shapely bust lines, closely-defined waistlines, slightly padded
skirts, and full, billowing skirts that hung just below the
calves.
• 1947 New look by Dior, shoulder line softer skirt again
controlled once again with boning and crinolines.

105. new look

106. …Cont’d

107. • During the post war years and up to the early 60’s, high fashion
remained formal and restricted to the wealthy.
• As Western economies started to pick up the younger working
generation or teenagers, suddenly had for the first time, significant
disposable income. It was about this time that youth fashion came
to the fore.
• In the 1950’s the young working classes started to experiment with
clothing.

108. …Cont’d
 In Britain, the Edwardian style with long jackets and narrow
trousers became popular. Girls wore tight sweaters and skirts
held out with petticoats. There was also a trend towards
wearing t-shirts, jeans and leather jackets as popularized by
Hollywood film stars of the period.

109. ENOUGH FOR TO DAY!!

110. Individual assignment 1
What is History of Fashion costume from 16th-21th century describe in detail each of the
following terms
 Unique Style line
 Product line
 Costume designer
 Costume design process
 Types of fabric used
 Textile and techniques
 Accessory and cosmetics and etc.
Group1 16-17th century
Group2 18th-19th century
Group3 20th-21th century
Group4 17th and 20th century
NB: Assignment is submitted by power point presentation
submission date: 03/04/2015 E.C