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. Sangeeta Chouhan
2 Year Diploma In Fashion Design
Confirming to NSQF Level 6 OF NSDC
Dezyne E’cole College
Fas
hstory
on

2. Project Report
On
Fashion History
At
Dezyne E’cole College
Submitted Towards
The Partial Fulfillment Of The
2 Year Diploma In Fashion Design
Confirming to NSQF Level 6 Of NSDC
By
Sangeeta Chouhan
Dezyne E’cole College
106/10 Civil Lines , Ajmer
Tel-0145-2624679
www. dezyneecole .Com
2016-17

3. This Project Report Of Ms. Sangeeta Chouhan , Student Of 2nd Year Diploma In Fashion Design, Confirming To NSQF
Level 6 Of NSDC Has Been Checked And Graded As____________________________________________________
Thanking you
Principal
[seal and signature]
Dezyne E’cole College
106/10 Civil Lines
Ajmer-305001[raj]
www. dezyneecole .Com

4. ACKNOWLEDGMENT
I Am Thankful To All Those Whose Guidance Helped To Me To Complete My Project.
I Am Thankful To My Mentors Of Dezyne E’cole College Who Gave Me This Opportunity Where I Can Show My Working
Abilities Through This Project.
SANGEETA CHOUHAN

5. Medieval
Romance
and Trade
660-1449
Renaissance
Splendour
1450-1624
Baroque
And Rococo
1625-1789
Form
Revolution To
Frivolity
1790-1900
La Belle
Époque
And Jazz
Age
From
Glamour To
Utility
1929-1946
Optimism
And Youth
1927-1963
The Ancient
Time
600 CE
Swinging
Sixties Glam
Rock
1964-1979
The
Designer
Decades
1980-
onwards
1901-1928
TIMELINE

6. In story of our clothing from the ancient world to todays modern and conceptual design have been
evolved since ages and as history repeats itself fashion in our historical time period is coming into
the present era with modern dynamism but for any designer history of clothes works the most as
fashion has evolved from history.
Mainly 3 era are the most emphasizing in clothing history which industry.
Indus valley Mesopotamia Egyptian
Production of cotton Sumerian flax and linen
Bronze baby lonian tunic
Unstitched garment Assyrian loin cloth
Sculpture figure schenti
kalasiris etc.
In the proceeding slides we will discover how these era have let to the fashion industry in modern
world.
INTRODUCTION

7. Ancient worlds is a jigsaw of images and object
that historians are trying to piece together
painting, sculpture , art facts and scraps of
clothing and jewellery all provide clues as to
how people lived and dresses. Many of the early
civilizations reached impressive levels of
development.
Clothing and accessories including protective
armour and talismanic jeweler . Were often
produced to extremely high standards. Fine
linen was woven on the banks of the Nile in
Egypt ; sericulture from china supplied the wider
world exquisite wool tapestries : and the
Etruscans crafted ornate, tooled metalwork.
Many shapes and styles in dress date back
thousands of years.
ANCIENT WORLD

8. ANCIENT WORLD
PRE HISTORY-
600CE
• EGYPT
• MINONIAN CULTURE
• CLASSICAL GREECE
• ROMAN
• BYZANTINE STYLE

9. EGYPT

10. Ancient 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.

11. SCHENTI
Men Wore A Schenti Cloth Wrapped Around The
Hips Which Hung In Folds In Front.
KALASIRIS
Women Wore A Kalasiris [Sheath Like Dress ]
Often With Detachable Sleeves.

12. MAKEUP
FOOTWEAR
• Wore During The New Kingdom.
• Made Of Leather Or Papyrus Fibre.
• Kohl: Eye Liner Made Of Galena Ore
• To Keep Away The Insects
• To Keep Away The Evil Eye
• To Prevent Inflammation And Allergy
• Dust
• Rouge: Made Of Ochre
• Eye Shadow: Made Of Malachite Which Is Red
And Green In Colour
• Hena: Nail Paint And Colouring Their Hair

13. LOIN CLOTH
A Triangular Piece Of Cloth Worn By
Commoners , Nobilities And Royalties. .
TUNIC
A Rectangular Piece Of Cloth With A Hole In
The Centre For The Neck Worn By Pharaohs
After Conquering Ceria.

14. CAPE
Worn By Women By The New Kingdom.
A Round Piece Of Cloth With A Hole In The
Centre For The Neck And Belted At The
Waist.
BEADED DRESS
Created From Cylindrical Beads Of Green,
Blue , Black , Turquoise And Cream Color.
Suppose To Be Worn By Dancing Girl.
Structure Of Dress And Its Pattern Of The
Dress Seem Of Diamond Shape Net
Structure.

15. QUEEN NEFERTITI
The Egyptians Queen Nefertiti Whose Name
Translate As A Beautiful Women Has Come.
Framed For Posing Both Political Influence And
Great Beauty.
Queen Nefertiti Emphasis Fertility Sometime
Shown In Translucent Kalasirirs . Depicted With
Makeup And Crown Of Vulture Motif.
Queen Nefertiti And All Things Of Egyptian
Continue To Inspire.
Vulture Motif

16. MINONIAN CULTURE

17. MINONIAN CULTURE
Cantered On The Island Of Create , The Minoan
Civilisation Was At Its Height Around 1600 BCE It
Was Advanced And Prosperous With Wide
Spread Trade Contacts . Minon Dress From This
Isolated Island Society Stands Out Among Other
Ancient European Bronze Age Cultures For Its
Cut And Stitched Body Hugging Garments . A Key
Feature Of Both Made And Female Attire , Was
Emphasized In Women By The Hats , Hairstyles ,
And Embellished Sleeves Worn Above , And The
Wide , Flowed Skirts Below Hem Wore Peaked
Laps , Wrapped Loincloth Around Their Hips , And
Showed Of Their Base Torso.

18. CLASSICAL GRECE

19. CLASSICAL GREECE
Clothing Inn This Period Simple Draped Folded In
Artistic Manner.
Show Elegance And Grace.
Clothing Loose Fitted , Free – Flowing Made By
Wool , Linen.
TYPES OF CLOTHING
Draped Costume
Open Sewn Costume
Closed Sewn Costume
Slip on Costume
Draped costume Slip on costume
Open Sewn CostumeClosed Sewn Costume

20. BASIC UNDERGARMENT OF GREEK
CHITON
Was Worn In The Ancient Greece By Men
As Well As Women
This Form Was Of Clothing Was Of
Clothing Was Quite Popular In Ancient
Greek Fashion
The Chiton Could Be Worn With A
Himation Or It Could Be Worn Without It
As Well
A Belt Was Also Worn With The Chiton,
Which Was Called The Zoster
The Doric Chiton Consisted Of Two Pieces
Of Cloth, Which Were Rectangular In
Shape, And Was Worn Long
The Ionic Chiton Differed From The Doric
Chiton In Terms Of The Over fold. The
Over fold Was Worn Longer On The Doric
Chiton.

21. PEPLOS
Was Worn In The Ancient Greece By Men
As Well As Women
This Form Was Of Clothing Was Of
Clothing Was Quite Popular In Ancient
Greek Fashion
The Chiton Could Be Worn With A
Himation Or It Could Be Worn Without It
As Well
A Belt Was Also Worn With The Chiton,
Which Was Called The Zoster
The Doric Chiton Consisted Of Two
Pieces Of Cloth, Which Were Rectangular
In Shape, And Was Worn Long
The Ionic Chiton Differed From The Doric
Chiton In Terms Of The Over fold. The
Over fold Was Worn Longer On The Doric
Chiton.

22. The Chlamys Was Also Flowing In Its
Appearance And Was Mainly Worn By The
Soldiers In Ancient Greece.
The Chlamys Was Used As A Cloak And
Was Pinned At The Right Shoulder
The Chlamys Was Also Worn With Other
Forms Of Clothing
Generally, Soldiers Only Used It As A Form
Of A Cover
This Was Worn Pinned At The Right Arm.
CHLAMYS

23. When The Himation Was Being Worn In
Ancient Greece, It Represented A Form Of
Outdoor Wear
The Himation Is Also An Important Garment
Of Ancient Greek Fashion
This Was Generally Made From A
Rectangular Piece Of Wool With The Use Of
Lighter Fabrics, The Himation Was Worn At
Any Time Of The Day
The Himation Was Loose 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
The Himation Can Be Compared To The
Roman Toga, The Only Difference Being That
The Himation Has Less Volume In The Fabric
When Worn Solo, The Himation Was Known
As The A chiton.
HIMATION

24. ROMAN

25. The Roman Empire Was One Of The
Greatest Civilizations In History. It Began In
Rome In 753 BC. Rome Controlled Over Two
Million Square Miles Stretching From The
Rhine River To Egypt And From Britain To
Asia Minor. This Timeline Highlights The
Major Events In The History Of Ancient
Rome. This Timeline Goes From 753 BC To
27 BC And Then From 64 AD To 1453 AD.
Toga
ROMAN

26. BYZANTINE STYLE

27. 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.
BYZANTINE STYLE

28. MEDIEVAL ROMANCE
AND TRADE
600-1449
 COURTLY LOVE AND
CRUSADES- 1100- 1200
• AGE OF MIGRATIONS- 600- 1100
• COURTLY LOVE AND CRUSADES- 1100- 1200
• THE EAST IN THE WEST- 800- 1450
• PRIESTS AND THE PEOPLE- 1100- 1450
• SOCIAL STATEMENTS- 1200- 1300

29. Through This Time Period Clothes For Most
People Were Very Simple , Based On Littlie
More Than Two Draped Rectangles Sewn Into A
Tunic . Tunic And Clocks Were Made Of Wool
And Linen , Though Leather And Furs Were
Also Worn , Especially In The Colder Northern
Regions Of Europe. Silk Was An Extremely
Expensive Item Throughout The Medieval
Period.
Birth Of Fashion – By The Later Middle Ages
Fashion And Clothing Became More
Complicated . There Was A Wider Choice Of
Garments And Accessories And A Greater
Range Of Fabrics. Improved Production Of
Textiles Meant Wastage , And Innovation Was
Possible Garment Shapes Began To Be Curved
, And Edges Could Be Snipped Or Dagged.
MEDIEVAL ROMANCE AND TRADE -600-1449

30. 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.
AGE OF MIGRATIONS- 600- 1100
Voluminous Green
Woolen Mantle
Carolingian Style

31. 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,
Accessories Were Long, Pointed Pauline Shoes
And Long Hair With Trailing Hems.
 COURTLY LOVE AND CRUSADES-
1100- 1200
Body revealing dress

32. 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.
THE EAST IN THE WEST- 800-
1450
Surviving Medieval Clothing
Higher Hairstyle
Spaniard in short
doublet
Hood Has
Heavily
Dagged Tail

33. 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.
PRIESTS AND THE PEOPLE- 1100-
1450

34. 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. The Biggest Development Of The 14th
Century Was The Move From Flat, Draped
Garments Belted For Shape To The Cutting Of
Curved Pieces With More Complex Court
fashion Began In This Age. Neckline Became
Lower, Trailing Hemlines, Pauline Shoes. Tight
Sleeves, Hoods, Belts, Veils , Gloves Were More
Worn, Houppelande Trails On Ground. The
Silhouette Was Long With High Waist And
Small Bosom And The Fashion To Walk With
Belly Slightly Protruding And The Hips Thrust
Forwards. Dagged Edges, Higher Collar, Use Of
Peplum.
SOCIAL STATEMENTS- 1200- 1300
Sourcoat

35. HEADGEARS
Hats, Veils, and Head Coverings
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. The Style Can Still Bee Seen
Today On Some Muslim Women And On A
Few Catholic Nuns, Though Not As Ornate As
The Stylish Wimples Of The Late Middle Ages.
Although A Wimple Was A Garment Used For
Modesty, Women In The Upper Classes
Decorated Their Wimples And Added Padded
Rolls Of Fabric To Create Interest.

36. RENAISSANCE
SPLENDOUR
1450-1624
RENAISSANCE MEN
• RENAISSANCE MEN
• THE FASHION SPLIT 1450-1500
• HEADWEAR
• FROM DRAPE TO SHAPE 1500-1560
• ELEGANT FORMALITY 1560-1590
• HAIRSTYLE
• FEMALE GEOMETRY 1590-1625

37. RENAISSANCE MEN
From The 1480s New Broad Shapes Began To
Replace The Last Traces Of The Medieval In
Men’s Clothing . Instead Of An Emphasis One
Long, Vertical Male Figure , The Renaissance
Man , With Is Earthier Artistic And Scientific
Pursuits An A New Interest In Classical Ideas
Favored Blunt And Square Forms That
Expanded Sideways.
THE FASHION SPLIT 1450-1500
The medieval standard one- piece tunic moved
towards a broad spectrum of fashion in cut and
construction . As garments began to separate
into piece, dressmaking played with the cut of
skirts and sleeves newly liberated from bodies ,
and incor [ported folded collars and laced
closures . Headwear continued trends from
earlier in the century but was becoming
spectacularly complex. As the elongated gothic
look disappeared , clothing became softer and
wider.
Wide Shoulder
Wider Sleeves
Farthingales
Visible camisia

38. HEADWEAR
Hats and veils
High forehead
Cylindrical hat

39. FROM DRAPE TO SHAPE 1500-1560
Soft , draped lines began to disappear as
the century went on womens dress had
two main parts . Bodice and skirts , and
sleeves were often separate too.
The Spanish farthingale [ hooped
petticoat] created a bell shape and
defined the century’ s silhouette bodice
became smooth and fitted by adding stiff
materials insides . While the torso
straightened , sleeve grew larger and
more elaborate.
Transluce
nt linen
partlet
Square
neckline
Waist look
smaller
Tight
vertical
pleats in
skirt
Black
velvet
cape
Voluminous sleeve
Decorated hem

40. ELEGANT FORMALITY 1560-1590
As The Century Progressed So The Gradual
Stiffening Of Women's Dress Continued
The Increasingly Rigid Garments Began To
Need Extra Support And Separate Boned “
Paris Of Bodice” [ Stiff Undergarment] Worn
Under Gowns Started To Appear The Beginning
Of Stays And Corstry .
Ruffs Slowly Widened And Became Separate
From Shirt Collars.
The Silhouette Stayed Triangular With Narrow
Waist Ending In Sharp Points And Full Skirts.
The Tops Of Sleeves Of Womens Dresses
Started To Be Styled Into Puffs, And Rolls ,
Male And Female Fashion Followed Similar
Trends Of Adornments Cut And Color.
Handkerchief edge
with needle lace

41. HAIRSTYLE
Women's Hair During 16th Century Was Parted
In The Center , Swept Over The Temples,
Curled , Crimpled, Arranged Over Pads To Keep
The Shape Piled Into High Peaks Or Hidden .
Women Added Jewels , Ribbons , And Feathers.

42. 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 body or open
collars revealed decolletages cut immodestly
low. The French farthingale [ a wheel shaped
support worn over the hip] made women the
wider and squarest they had ever been .
Stiffened
open
collar
Waistline nearly at natural level
Ruffs, cuffs
And Shift
Show Off
Lace
Slash sleeve
Code piece
Code piece

43. BAROQUE AND
ROCOCO
1625-1789
SUITS
• SUITS
• MANTUAS
• HOOPED

44. BAROQUE AND ROCOCO 1625- 1789
Buckles and straps evolved during this time .
The farthingale petticoat vanished and people
move towards softer – silhouette .
A stiffening was done in the dresses with the use
of buckram or paste board and sometimes with a
central wooden busk this happened during the
time period.(1625-1635)
Originally this mantua's was garment that was
open from a front and gradually the shape
changed with the use of hooped petticoat and
underskirt of canvas or linen with rings made of
whale bone or cane.
Between the 1660 to 1680 the bond bodice
developed which was known as corsets and this
was used for the upper part of the dress.
Further Details Related To This Time Period Are
Showed In The Following Slides Using
Photographs.
corsets

45. SUITS

46. MANTUAS

47. HOOPED
PETTICOATS

48. FROM REVOLUTION
TO FRIVOLITY
1790-1900
• EMPIRE LINE
• CRINOLINES
• EVENING HOURGLASS
• BUSTLES

49. FROM REVOLUTION TO FRIVOLITY
1790 - 1900
1790-1800 neo classical
Fashion of 18th century reflected a time of
upheand.
Indian calilose and muslin were popular for
handkerchief and full length dress.
High waisted simple dress laced corsets were
wormed over on top off the dress with red
ribbons.
1800-1809 in France the empire became
fashionable from 1790 s inspired from the
classical Greek and roman status.
Dresses with short sleeve required stole and
capes or pelisse fur providing warmth.
Accessories such as parasole and
embroidery shawls from Indian became
popular.
Crinolines Appeared Large Frames Were
Abandoned After 1867 , Skirts Trailed And
Were Gathered Internally With Ties Forming A
Soft Bustle. Then Crinolettes And Bustles And
Fishtail. A bodice Necklines Were Square With
Exposed Decollate For Evening Panniers Were
Used. Fishtails Trains Reflected And Extremely
Tight Steel Boned Corsets Came In The Year
1883-87 Which Look Like A Chicken Tail.
Further Details Related To This Time Period
Are Showed In The Following Slides Using
Photographs.
DELIGHTING IN THE DETAILS 1820-1830
Piping of the dress appeared .
Spenser jackets and beautiful hats appear during
this time.
Wide puffed sleeve emphasize the narrow
emphasized the bottle neckline.
Off shoulder dress appeared here .

50. EMPIRE LINE

51. CRINOLINES

52. EVENING
HOURGLASS

53. BUSTLES

54. .
LA BELL EPOQUE
AND JAZZ AGE
1901-1928
• COCO CHANNEL
• PAUL POIRET

55. LA BELLA ÉPOQUE AND JAZZ AGE
1901-1928
.
This time period focused on
simplication of the dress. The idea was
“ less is more” the old way of dressing
was abandoned and poul poirets
colorful oriental dress liked by people.
Designer Coco Chanel Enters And The
Time Of Roaring Twenties Sets In Roaring
Twenties Sets In Roaring Twenties Is A
Period Where The Hems Upward During
The 1923 The Sleeves Were Abandoned
And More Popularly This Was Flapper
Look.
Further Details Related To This Time
Period Are Showed In The Following Slides
Using Photographs.

56. .
COCO
CHANNEL
Brassieres
Panties Cloche
Hats
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.

57. PAUL POIRET
Work On
Beads And
Sequence
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.

58. .
FROM GLAMOUR
TO UTILITY
1929-1946
• ELSA SCCHIAPARELLI
• HALTER NECK
• WHITE DINNER JACKET

59. FROM GLAMOUR TO UTILITY 1929-
1946
.
From the period 1929-1946 we have the
designer Elsa scarparelli 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 in this
dresses became longer at the hemline to
the floor length and the roaring twenties
came to a halter.

60. .ELSA SCCHIAPARELLI
SHIMMERIN
GOWN
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.

61. . HALTER NECK
WHITE DINNER
JACKET

62. OPTIMISM AND
YOUTH
1947-1963
CHRISTIAN DIOR
• CHRISTIAN DIOR
• BALENCIAGA

63. Most Of Europe Faced A Long Period Of Recovery Following World
War II, But France's Fashion Industry Resurfaced Quickly, With The
Chamber Syndicate Ensuring That The Paris Couture Houses Could
Open And Show Collections. On A Cold February Day In 1947
Christian Dior Showed His La Corolle Collection, Sowing The Seeds
Of Glamour And Creating The Basic Shape Of Fashion For The Next
Decade. In Britain Clothes Rationing Lasted Until 1950, But Mayfair
Couturiers Such As Hardy Amie's Produced Their Version Of Dior's
"New Look For English Women Eager For New Styles In A Drab Post-
war World Buyers From North America Travelled To Paris To Secure
Toiles (Mock-ups Of Garments) To Reproduce "Paris Fashions" In The
Major Department Stores Back Home. In Hollywood, Costume
Designers Including Helen Rose And Edith Head Were Inspired By
The Styles Coming From Paris, And Produced Their Own Versions,
Including The Ice-cool, Elegant Clothes Worn By Stars Like Grace
Kelly In Hitchcock's Rear Window. . Further Details Related To This
Time Period Are Showed In The Following Slides Using Photographs.
OPTIMISM AND YOUTH -1947-1963

64. CHRISTIAN DIOR
A-line Skirt
Balanced The Shoulders
With The Hip
The New Look
Pencil Skirt Is A Slim –
Fitting Skirt With A
Straight , Narrow Cut
Pencil skirt
High Heels, with Sheer
Stockings
Christian Dior’s Bar suit, the one with the white
jacket nipped at the waist with a stiff peplum standing
proud of the full, long black skirt with the archaically
padded hips and worn with a white straw hat,
is without doubt the most memorable image from all
of twentieth-century fashion. Long after Dior’s death,
his was the name universally used as a short form
for hugely desirable, hugely elitist couture fashion.
Cecil Beaton named him ‘King Pins and Needles’
and ‘the last of the great couturiers’ and quoted him
thus, ‘Nothing is ever invented. You always start
from something. It is certainly Molyneux’s style that
has most infl uenced me.’

65. BALENCIAGA

66. SWINGING SIXTIES TO
GLAM ROCK
1964-1979
• MINI SKIRTS
• TWIGGY
• MINI SKIRTS
• YVES SAINT LAURENT

67. SWINGING SIXTIES TO GLAM ROCK 1964-1979
Clothing Styles Have Always Mirrored The Prevailing
Attitudes Of The Times 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 Were Growing Up
And Demanded Their Own Fashion Style .
Designers Responded With A Much More Liberal , Darning
Approach To Fashion ,Boasting Colorful Fabrics And Bold
Designs.
The 1960s Saw Fashion Reject The Conventions And
Niceties Of Previous Eras. Clothing Broke With Social
Traditions That Dictated What Could Be Worn When And By
Whom In The Past , Attire Had Been Divided In To ‘ Formal ‘
And ‘ Casual’ Wear And Distinct Separations Were Made
Between The Styles Of Clothing Such As Denim Jeans,
Which Could Be Worn By Both Sexes. Further Details
Related To This Time Period Are Showed In The Following
Slides Using Photographs.

68. MINI SKIRTS

69. TWIGGY

70. MOD FASHION
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.

71. Mondrian dress
Trouser
Turban
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

72. THE DESIGNER
DECADE
1980 ON WORD
• VIVIEN WESTWOOD
• HUSSEIN CHALAYAN
• ISSEY MIYAKI
• JEAN PAUL GAULTIER
• ALEXANDER MC QUEEN

73. 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. . Further Details Related To This Time Period Are
Showed In The Following Slides Using Photographs.
THE DESIGNER DECADE 1980 ON WORD

74. VIVIEN WESTWOOD
•BELL BOTTOM
•DENIM PANT
•PRINTED BELL BOTTOM
Clothing has always reconstructed and modifi ed
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. Perhaps I mean it to
be a subversive act. Perhaps I want to question
people’s prejudices about what is beautiful,
what makes a lady beautiful. Through fashion I
try to re-evoke the past and refl ect on it.

75. VIVIENNE WESTWOOD
Punk Fashion
Harris Tweed
Pirate

76. VIVIENNE WESTWOOD
Tie Dye

77. HUSSEIN CHALAYAN
Airmail Dress
“Remote Control”
dress
Afterwords

78. ISSEY MIYAKI
Pleats Please
origami
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

79. JEAN PAUL GAULTIER
Corset Dress
Beaded Skirt
Sweater
Icon Dress
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 the establishment he once shunned

80. ALEXANDER MC QUEEN
Peacock Dress
British fashion has produced countless young designers
full of loudmouthed attitude and shocktactics
clothes. Many of them have sparkled briefl y,
like fi reworks, only to fall swiftly to earth. However,
Alexander McQueen, who could always out-swear
his contemporaries and enjoyed creating a furor
on the catwalk, has proved a designer with staying
power. He is an enduring talent who looks certain
to be a major infl uence in fashion for many years
to come. This did not seem so likely back in 1996
when the young designer upset the Parisian fashion
establishment after landing the job of head designer
at Givenchy. McQueen swiftly alienated the French
by making no attempt to speak French, deriding the
still-revered Hubert de Givenchy as ‘irrelevant’, and
producing a shockingly ill-judged fi rst collection
that even he admitted was ‘crap’. In retrospect, the
Givenchy experience, which lasted for four years,
represented a huge learning curve for the designer.

81. Thank You for watching
By Sangeeta Chouhan
2 Year Diploma In Fashion Design
Confirming to NSQF Level 6 OF NSDC
Dezyne E’cole College