student of Dezyne E'cole College ,fashion design department ,www.dezyneecole.com. this is a portfolio of final year work of her in fashion Design

1. HISTORY
OF
CLOTHINGthe journey continuous…
Richa Tilwani
2nd Year Diploma In Fashion Design
Confirming To NSQF Level 6 Of NSDC
Dezyne E‟cole College , Ajmer

2. A Project On
HISTORY
OF
CLOTHING
Submitted To
Dezyne E‟cole College, Ajmer
Civil Line,
www.dezyneecole.com
By Richa Tilwani
2nd Year Fashion Design Diploma
Confirming To NSQF Level Of NSDC

3. Dezyne E‟cole College
106/10 Civil Lines
Ajmer-305001, Raj
Tel. 0145-2624679
www.dezyneecole.com
This project report of Mrs. Richa Tilwani student of 2nd Year Fashion Design Diploma, NSQF Level 6 NSDC, has been checked and has been
graded as
Thanking you
Principal
(seal & signature

4. ACKNOWLEDGEMENT
I 'am Richa Tilwani, student of Fashion Design department of Dezyne E‟cole College. I would like to show my gratitude to
the mentors who had helped me in the completion of this project
I also thank Dezyne E‟cole College for giving me this opportunity to make this project and looking for my insight capability
and helped me to understand the working of this project.

5. C
O
N
T
E
N
T
S
1 2
3
5
7
9
4
6
8
10
Ancient World
From Revolution To Frivolity
From Glamour To Utility
Swinging Sixties
Medieval Trade And Romance
Baroque And Rococo
La Bella Époque And Jazz Age
Optimism And Youth
The Designer Decade
Renaissance Period

6. 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

7. 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.

8. 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.

9. • 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.

10. 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.

11. 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.

12. 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.

13. 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.

14. • 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.

15. 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.

16. HOW DIFFERENT CLOTHES THEY USED TO WEAR:-

17. 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.

18. 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.

19. • 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.

20. 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.

21. MEDIEVAL ROMANCE AND TRADE
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

22. 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.
.

23. 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
• FOOTWEARS:- Medieval leather shoe were much
greater numbers than fragile textiles. Piercing or
incising with decorative patterns was popular and
showed off coloured hose underneath. The long
poulaine toe was stuffed with whalebone, wool, or moss
to keep the shape. Noblemen‟s shoes were embroidered
with silks..

24. 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.

25. 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.

26. 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.

27. 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.

28. 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.

29. 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.
.

30. 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.

31. 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.

32. 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.

33. 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 fashions
Philanthropic reforms, including educational provision,
assisted the working classes in seeking to better themselves
by working their way factories, shops, "in service".

34. 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..

35. 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

36. 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.

37. 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.

38. 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.
• .

39. 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.

40. 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.

41. 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.

42. 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.

43. 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.

44. 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.

45. 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.

46. 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.

47. 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.

48. 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.

49. 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.

50. AMERICAN READY TO WEAR:-

51. OPTIMISUM AND YOUTH
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.

52. CRISTOBAL BALENCIAGA
Designer from Spain. His creations had broad shoulders, and
he removed waist..

53. 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.

54. 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.

55. 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.

56. 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.

57. 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

58. 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.

59. 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.

60. 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.

61. 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.

62. Thank You
Richa Tilwani
2nd Year Diploma In Fashion Design
Confirming To NSQF Level 6 Of NSDC
Dezyne E‟cole College , Ajmer