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Garment Support and Structure

Anette Fischer and Kiran Gobin

Source: Construction for Fashion Design, 2nd Edition, 2017, Fairchild Books Library

Book chapter

Throughout history, dressmakers and tailors have been working hard to achieve a certain body shape in fashion. Since humans first began to cover their bodies, supportive and structured garments have been used and modified. At first, these garments would have been purely for shelter and protection. As time went on, however, clothing began to be associated with social and/or economic status and the interest in structured garments that would accentuate certain parts of the body grew.

Oscar De la Renta

Amber Jane Butchart

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Black

Emma Davenport

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Historically associated with cultural symbols of sorrow, experience, drama, and abstinence, the color black has frequently been worn since the fourteenth century to mark out the wearer from others in a variety of social and economic ways. On the catwalk, black has been used by a variety of designers including John Rocha, Yves Saint Laurent, Rei Kawakubo, and Romeo Gigli. Since the 1970s, black has often been worn in the Western world to challenge and subvert cultural values. Yet, by the end of th

Tomasz Starzewski

Nanna Marie Lund

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Zandra Rhodes, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Rhodes’s spring/summer 1984 collection made its debut in London’s Ritz Carlton hotel. Having studied textiles before designing fashion, Rhodes’s garments utilize fabric with a high degree of detail and craftsmanship. This collection was no exception, with dresses made of embroidered chiffon, metallic sequined ensembles, and dresses encrusted with hanging pearls and crystals, all in pastel color schemes accented with blazes of magenta and deep cerulean. While a few typical 1980s body-conscious, sh

Cocktail Dress

Elyssa Schram Da Cruz

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

By the end of World War I, the French couture depended rather heavily on American clientele and to an even greater extent on American department stores that copied and promoted the French créateurs (Steele, p. 253). As cocktailing had originated in the United States, the French paid less attention to the strict designations of line, cut, and length that American periodicals promoted for their heure de l’aperitif. Instead, the couturières Chanel and Vionnet created garments for the late afternoon,

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