Madeleine Vionnet Research Paper

In order to understand what motivated Liz Claiborne to become such a successful woman, it is helpful to go back her roots. Liz Claiborne was born in Brussels, Belgium on March 31st 1929, which was nine years after the Women’s Rights Movement ended in America. She had exposure to art in her childhood from her father who taught her to appreciate art and her mother who taught her to sew. Liz Claiborne spent her early years in Brussels and became a bilingual person who could speak French and English fluently. In 1939, she moved to New Orleans, Louisiana with her parents due to the threats from Nazis (Bernstein 1; “Liz Claiborne’ Biography”).

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

Like many successful designers Coco had humble beginnings as a hat designer in 1910. Her unique hat styles made her noteworthy in the Parisian

Elsie de Wolfe, Eleanor McMillen Brown, and Dorothy Draper were three extraordinary women who pioneered the field we know today as interior decorating. All three of these women grew up in high societies, which gave them an excellent understanding of the rich, the famous and their expensive tastes. De Wolfe, McMillen, and Draper all had prominent careers from the mid 1800’s until the early to mid 1900’s. Most of their work was for the rich and famous in American high societies.

Her grandmother “introduced Herrera to the fashion world by taking her to runway shows and buying her clothes from Dior and Lanvin. “

At this time Paris was fun and careless before the French Revolution of 1789 released its horrors on it. But the outbreak of the revolution changed everything, and with all of the violence around, she fled France with her daughter to find safety in Italy (Moffat and Mossman). When she returned, Paris was a completely different place. However, the demand for her art had not changed. Vigee Le Brun is considered a painter of the rococo period. Rococo is best described as an eighteenth century art style that places importance on the carefree life rather than grand heroes. Originally the rococo fashion started in Paris, where Vigee Le Brun was born. It changed the way people looked at art and the world in general (Bleiberg). Vigee Le Brun not only used the rococo style in her art, but also to influence fashion, persuading women to wear simple, high waist shifts, which would be an important stepping stone in changing fashion forever. By refusing to put powder in her hair, she made being natural beautiful. If it weren’t for her innovations we might still be wearing Victorian gowns and wigs. She made fashion and styles for young women, such as herself, more daring and interesting (Steadman).

In the Early 20th Century a movement began; the movement that made women strive to be professional interior decorators. It was a new idea of decorating but to make it a profession, that’s what made the difference. During this time a few women made history, Elsie de Wolfe, Eleanor McMillen Brown, and Dorothy Draper. Their styles and way of doing things put them down in the books as some of the greatest.

The saint I have chosen is Madeleine Sophie Barat. Madeleine Sophie Barat was born on December 12, 1779 in Joigny, France. Madeleine Sophie founded the Society of the Sacred Heart in 1800. Her and a few other women opened a convent with the main purpose of educating young girls. In 1802 she made her vows and became a nun. Madeleine Sophie Barat’s feast day is celebrated on May 25. She is the patron saint of school girls. Madeleine Sophie followed God’s will by opening the Society of the Sacred Heart to educate girls. Mother Barat opened all girls schools even though at the time many girls were not allowed to be educated. My saint is like Jesus because she wanted to spread the word of God to everyone and gained followers to help with her mission.

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)

The fashions of the past 100 years greatly differ from the styles of the present. Some of the trends of the trends of our generation were inspired by those years, while others remain out of style. Our fashions are not only brought back from the past, but some are brand new ideas fashion designers create. Fashion is an alternating compilation of styles that suffice diverse people and contradistinctive times. Fashion can be considered an expressive art, with the human physique as its canvas, and as a symbolization of one’s class, employment, imagination, and emotions.

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).

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.