Chanel And Elsa Schiaparelli Analysis

During the 1930’s the public began to feel the effects of the Great Depression, many designers were restricted in experimenting with new fashions due to the fall in the economy and the rise in employment. However, this difficult time period did not stop women from flocking to the shops to enjoy the new fashion craze that was arising. Women were expected to wear clothing that was sombre and modest, it reflecting the difficult social and economical situation of the decade. In Italy, women’s fashions moved away from the seductive and daring style of the 1920s towards more romantic, feminine silhouette inspired fashion. Fashion was more significant during this time period in Italy because

The 18th century, more precisely between 1715 and 1789, was a significant time period in the fashion sphere for women in France. The time period itself was a mark of great change for the history of France due to various political reasons as well as various art movements and often times fashion, despite being a branch of art, is overlooked by most viewers. However, fashion during this time excelled in France and was essentially the symbol of a new era in this domain; French fashion was now snowballing into something much greater that still echoes to this today. Ultimately, the goal of this essay is to describe women’s fashion during the period of 1715-1789 and the shifts it made through the analytical use of various sources including artwork, literature, museums’ online archives and internet sources.

There have been and still are hundreds of fashion designers in the world. But only a few of them have had any major impact on fashion industry today. And even fewer have revolutionised the fashion industry completely. One of these revolutionaries is the renowned Christian Dior. He reestablished Paris as the centre of the fashion world, and created his name as a symbol of elegance, quality, and modernity. I will be looking into how Dior’s context informed his practice, by using three of his most iconic and popular designs; The Bar Suit, Venus Dress and the Cygne Noir dress. And how these were a direct representation of 1945-1950 France.

Let’s take a look at the women’s of the 1920’s, the changes that took place in fashion and the roles of women in society. Women’s fashion will be compared from early days up until the 1930’s, with a brief comparison of the roles of women before and after the 1920’s. A discussion of the different avenues that opened up for women after 1920 and the impact that it has had on modern day women will also be covered within this paper. you need a stronger introduction

In this essay I want to examine how the corset evolved from a staple of the British feminine wardrobe of the Nineteenth Century into a symbol of an outmoded tradition – only to later return as a statement of female liberation. I am going to look at different aspects of this development including technological advances, economic facts, external events, particularly the First World War and changes in social, political and aesthetic attitudes. I will also look briefly at the role of Chanel on the silhouette and how this impacted on the corset: focusing on the trend to towards ‘opulent androgyny’ in the 1920’s. Finally I will examine the resurgence of the corset

B. Coco Chanel’s “The Little Black dress” is thought to be element to the world of women’s fashion.

Throughout the 1920s through the 1950s Women’s clothing in America was affected by World War II, which lead to the exploration of different styles, the encounter of new trends and the exchange of ideas and new styles.

After the War Chanel returned to Paris in 1953 to find that Parisian women were obsessed with Christian Dior and the “New Look”, which is a very feminine

The fashion industry is rapidly growing and constantly generating new fashion trends almost weekly. Fashion for some may seem ridiculous and unnecessary; but fashion is not just a meaningless usage of article of clothing or farcical materials sew together for coverage. There is more to fashion than meets the eyes, fashion is precious and significant. It is a reflection of self-image, it speak the ream about who we are and how we review ourselves. Not only is fashion the reflection of self-image but also the reflection of our history as Coco Channel have said, “Fashion is not something that exist in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” Fashion

Since its introduction to the world in December of 1892 Vogue has gone about as the central form counselor for the socialites of tomorrow, setting up the garments drifts in the interminably developing universe of design. Vogue is presently distributed in eighteen nations, universally extending the legacy and impact of the design wonder. In spite of Vogue's concentrate on the brief form vibes existing apart from everything else, the magazine has kept up its status as the managing voice in first class design styles for almost 120 years.

Fast forward to Chanel’s young adult life, and you can see it wasn’t long off that she would set up shop in Paris, France in 1910, eventually expanding out to Deauville, and then Biarritz. She had started off with designing, and marketing hats which became a very successful hit amongst the fashionistas of that day. Chanel’s empire was growing exponentially, and in 1920 she expanded into the realms of couture now working in jersey which at the time was unheard of in the French fashion circle. Soon she was blurring the lines of what was acceptable, setting fashion trends instead of adhering to the routine, and was giving way to entire style genres such as the “chemise” and the “little boy” look. Her fashion statements were a gigantic contrast to what was socially acceptable, and of course Chanel fell under scrutiny over it, but she went on to create more casual, shorter, and idyllically “liberating” clothing for the day’s modern woman. In essence she was liberating women from the stuffy, confining fashions that they were used to, and giving way to a loose more relaxed style all together while maintaining it’s inherent feminine charm. Chanel was creating more than just a design, or an article of clothing, she was creating a movement that would change the way society viewed fashion in it’s entirety. (Lewis)

Elsa Schiaparelli was another star in the 30’s along with Chanel, but the contrast between them was nothing more but interesting. Their designs were different, looked upon as day and night, but still representing the extremes of couture, but they catered to the same clients.

Coco Chanel, born on August 19, 1883 in Saumur, France, influenced 1920s fashion greatly through her trademark pieces such as “little black dress” and jersey suits and many more. These key fashion pieces are still very popular in our current day time in women’s fashion. Before Chanel became well known, most women would wear corsets that would leave them feeling stiff to give them more of a hour glass look as well as skirts with long hems that would reach the floor. Chanel went past the social boundaries of most women, and created different and diverse pieces. She disregarded societies idea of

Paul Poiret was born on April 20th, 1879 in Paris, France. His contributions to twentieth-century fashion has earned him the title in many people’s eyes as the “King of Fashion”, because he established the principle of modern dress and created the blueprint of the modern fashion industry. Poiret’s designs and ideas led the direction of modern design history. He was born into a working class family and his natural charisma eventually gained him entry into some of the most exclusive ateliers of the Belle Époque. Jacques Doucet, one of the capital’s most prominent couturiers, hired him after seeing promising sketches he had sold to other dressmakers. Furthermore, he was hired by the House of Worth and was put to work to create less

This essay will be considering the historical development of haute couture by analysing Charles Frederick Worth’s (father of haute couture) key factors in the success of haute Couture. I will then discuss Coco Chanel’s thriving impact on haute couture as well as ready-to-wear caused by the second world war. Saint Laurent’s drift to ready-to-wear and the high street fashion system will also be discussed in order to answer if haute couture is relevant in fashion today. The books I will be analysing and referencing are ‘A Cultural History of Fashion in the 20th Century’ by Bonnie English, ‘Couture’ by Ruth Lynam, ‘How Fashion Works’ by Gavin Waddell. Which will thoroughly breakdown the evolution and historical development of fashion by cultural, economic, environmental and social changes to finally come into a conclusion.