Hour Bow Research Paper

Fashion in the early nineteen twenties was all about comfort. Men’s pants got wider and women stopped wearing their corsets and tight dresses, while older women of the age considered this scandalous and still held the thought that women should not show their ankle. Though the majority of adults disagreed with the fashion revolution, young women continually hiked up their skirts, stayed out late, and kept up with fashion trends. Times were changing, and thus the flapper age was born. Hemlines rose to the knee, and then later above it- exposing the muscular

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.

Laces usually fastened corsets at the back and were drawn tightly to alter the silhouette. The product was a “wasp waist” effect, or as some have expressed, the “hour glass figure”.

In the 1830s there were innovations in roller printing on textiles which introduced new fabrics for women. Men wore padded shoulders and women wore colossal sleeves to emphasize on a thin waist. A new fashion arrived; low boots with elastic insets. Men began wearing “greatcoats” for day wear. 1830:

Usually the bigger price tag means a better product. In the sport of bowhunting there are bows without attachments on them that are easily exceed $1000. Brands like Mathews, Hoyt, and Bowtech are known to be asking that kind of money for their bows. But there is a brand that performs just as well as the upper dogs. The brand is Bear Archery Products. They produce bowhunting products that have excellence performance. They performance is comparable to the top brands in bowhunting. It is almost impossible to tell the difference between the brands. Bear are starting to get popular and getting used by experienced bowhunters. Bear Archery’s products are reasonable in cost but are excellent in performance. Bear archery is a brand that has been around

The extreme and distorted silhouettes of the Elizabethan Era are in stark contrast to the pared back fashion of the war years. Furthermore, Queen Elizabeth’s intelligence and ruthlessness made her a formidable political force (Fischel, 2012) and due to portraiture being the main artistic genre of the time we can see the way Elizabeth influenced and dictated the fashions of her day. On the other hand, fashion during the war years was dictated by fabric rationing and the need for more practical and comfortable clothing was apparent especially in women’s

Ribbon is back and its b(l)owing us away! This trend can range from sporty chic, to casually put together, and even make it to club glam when you style it correctly. Personally, I thought that the 6 year old pigtail bow trend was thrown away along with jean shorts over leggings, zig zag hair parts, and grandmas knitted beanie you got for christmas. The worlds top fashion brands have been creating breath taking seasonal lines with a little touch of something special. Ribbon tied around the waist from David Koma, fastened on shoes from Miu Miu, looped around the neck by Marc Jacobs, and obviously secured in the hair of our countrys top fashion and beauty influencers. Hatting this trend will do me no good like having carbs 7. Weather you like

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)

However, the Elizabethan Era has had more of an obvious impact especially in the works of couture designers such as Alexander McQueen, Junya Watanabe and Valentino (Renaissance, Tudor and Elizabethan, FASHION DESIGN AND CULTURE SUBJECT - FDCUL101A, 2017). All of whom have reimagined apparel and have drawn on the deliberate distortion of the silhouette. In contrast, the impacts of WWI fashion on modern day clothing can be seen in streetwear, including the sweater and the Trenchcoat (Tortora and Marcketti, 2015). Designers such as Mar McFadden found inspiration in the Delphos gowns [Figure 8] (made by Fortuny around the time of the Great War), and became known for her own pleated gowns in 1980s (Tortora and Marcketti, 2015). Another post-war style that has found its’ way into modern fashion is the trench coat – credited to Thomas Burberry, this coat originated as a British officer’s coat and was water-repellent and thus was worn regularly as rainwear by men and decades later women also adopted the style (Tortora and Marcketti, 2015) [Figures 9 &

A common social media debate has been about the change in beauty standards compared to back to just before the 1950s and now. The idea that curvier women were thought of as more beautiful than women without has been thrown around different comment sections. Back in the 50s, there were models reflected these curvy body ideals, such as Dovima and actress Marilyn Monroe ("Are Laws Needed to Protect Models from Getting Too Skinny? A Model, a Designer and Vogue's UK Editor Discuss."). While they may not what one would call thin, they are by no means plus size or overweight. It is important to note that a lot of models prior to the 1950s were not well-known as models are today. Actresses were commonly used in fashion ads because of their likeness;

Even though it was taken as a portrait the fashionable way of dressing by the wealthy during sittings at that time still creates confusion when it comes to stablishing the differences between a portrait and a fashion photo. During the 1850, photography was used to satirize fashion, an example of this was the stereoscopic card made by the London Stereoscopic Company in 1870 (Image 2), this card showcased Paris first couturier J.P. Worth trapped in the hood of a skirt, while his clients looked on. This photograph constitutes a social commentary for the time, not only on fashion but on social norms as well. The first fashion document to be used commercially before the 1880’s was a carte-de-visite by Adolphe Reau (Image 3), one that presented two views of a man wearing a top hat and coat. The nature of the photograph suggest that it could have been used as an advertisement for a tailoring establishment or made to distribute to potential

It wasn’t until Chanel started to create jackets which not only had the purpose of being worn closed, she created jackets that looked good opened, closed or hanging over the shoulders. She emphasized on this style by making blouses to serve the complete outfit. She was also the creator of the “Little Black Dress”, which was a relatively simple black dress made by elegant materials such as lace, tulle, weightless silk and even embroidery in a new, more tailored way. Chanel is today world known for its high quality designs and has women of the 21th century dependent on its classical style (Rennolds Milbank 120-121).

Garner and colleagues also noted a trend toward noncurvaceousness from 1960 to 1979. The bust and hip measurements of Playboy models decreased and their waist measurements increased significantly. These findings are consistent with those reported by Silverstein, Perdue, Peterson, and Kelly (1986) who examined the curvaceousness of models appearing in Vogue and Ladies Home Journal from 1901 to 1981 and of popular movie actresses from 1941 to 1979. The investigators found that among the models appearing in Ladies Home Journal and Vogue, the bust-to-waist ratio dropped significantly.

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.

     New beliefs in equality also made a major contribution to the new image in France. No longer did class separate the people. When the working class took over everything turned upside down. While ornate and colorful clothes had once been only for the nobles and upper class, the new attitudes of equality became commonplace in all society, and no limits were held including the limits on clothes. There was no longer a specific line between what people of each class could were. Now businessmen could dress like a noble, and a noble could even dress like a peasant. With the introduction of machines that could mass-produce clothes, the costs for even the most ornate items greatly dropped. For a long time suits, especially with three pieces were a sign of the richest and gentlemanly people of society. With the introduction of a new coat called the frock coat, “designed as part of a three piece suit” (Yarwood, 223), everything changed. Even the common men now had the ability to imitate the richer people of their society. While many times this would not be allowed, in order to keep a fine line between the classes, with the