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Couture to Pop and Nostalgic Fashion, 1953–1980

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Between the early 1950s and the late 1970s, the production of woolen cloths in Britain was still primarily concentrated in Yorkshire wool textiles industryYorkshire, Scotland and the West of England woolen industryWest of England.G. F.Rainnie, The Woollen and Worsted Industry: An Economic Analysis (Oxford: Clarendon Press, 1965), pp. 29–31. Yorkshire continued to suitsfor menform by far the largest manufacturing region and Brearley, AlanBrearley and Iredale, John A.Iredale concluded in 1977 that

Trend Forecasters—Fashion’s “Insurance Companies”

Jenny Lantz

Source: The Trendmakers. Behind the Scenes of the Global Fashion Industry, 2018, Berg Fashion Library

Book chapter

We used to say that if you can find areas of fear, uncertainty and doubt, that’s a sign that you should study them more closely. (Neil Bradford, CEO (2008–2009), WGSNWGSN)

The Birth of Paris Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Le travail des modes est un art: art chéri, triomphant, qui dans ce siècle, a reçu des honneurs, des distinctions. Cet art entre dans le palais des Rois, [et] y reçoit un accueil flatteur.

Paris, Capital of Fashion?

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Fluctuat nec mergitur

La Mode Retrouvée

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Chacune de ses robes m’apparaissait comme une ambiance naturelle, nécessaire, comme la projection d’un aspect particulier de son âme.

Capital of Luxury and Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Je suis un grand artist, j’ai la couleur de Delacroix, et je compose. Une toilette vaut un tableau.

Into the Twentieth Century

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Interviewed in 1903 about their favorite brand of corset, Mme. Réjane said, “pas besoin,” [no need] and Mlle Eve Lavaliére replied, “Je nien porte pas” [I don’t wear one].

The Theater of Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Nous savons donc beaucoup de gré à mademoiselle Nathalie des sacrifices qu’elle fait pour ses costumes; de beaux habits sur de jolies femmes, rien n’est plus charmant.

Fashion in Balzac’s Paris

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

La toilette est l’expression de la société.

Fashioning the Parisienne

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

J’ai sous les yeux une série de gravures de mode. Ces costumes presentent un charme d’une nature double, artistique et historique.

The Private Life of Paris

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Dans ces sphères élevés le role de la femme est tout de charme et de seduction. Elle n’a d’autres devoirs à remplir que ceux qui lui sont imposés sous le nom des devoirs de société.

The Black Prince of Elegance

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Eternelle superiorité du Dandy.

Liberty of Dress

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Nulle personne de l’un ou de l’autre sexe ne pourra contraindre aucun citoyen ni citoyenne à se vêtir d’une manière particulière, chacun étant libre de porter tel vêtement et ajustement de son sexe que bon lui semblera, sous peine d’être considéré et traité comme suspect, et poursuivi comme perturbateur du repos public.

Ups and Downs of Paris Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Nous sortions d’une époque de guerre, d’uniformes, de femmessoldats aux carrures de boxeurs. Je dessinai des femmes-fleurs, épaules douces, bustes épanouis, tailles fines comme lianes et jupes larges comme corolles.ChristianDior, Christian Dior et moi (Paris: Amiot-Domont, 1956), p. 35. Translation in text by Valerie Steele.

Fashion under the Occupation

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

The house of Jacques Heim is no longer a Jewish house.

Chanel and Her Rivals

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Sandwiched between two world wars, between Poiret’s harem and Dior’s New Look, two women dominated the field of haute couture—Schiaparelli and Chanel.

Fashion’s World Cities

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Paris has changed, the system has changed, everything has been transformed. For the system to function, the participants have to be international, production has to be international. It’s clear that we no longer can or should be 100% French anymore.

Christian Dior

Lauren Bowes

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Ann Demeulemeester, Spring/Summer 1992

Elisa De Wyngaert

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The spring/summer collection of 1992 was Ann Demeulemeester’s first fashion show in Paris. She presented her looks alongside other young avant-garde Belgian designers, including Martin Margiela. The silhouettes of the collection featured some elements which would later become known as Demeulemeester’s signatures: feathers, a strong cut, and a kind of androgyny blended with poetic femininity. Yet these silhouettes also deviated from the monochromatic feel of her later work. Furthermore, Patti Smit

Vivienne Westwood, “On Liberty,” Fall/Winter 1994

Lydia Edwards

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

“My job, more than anything, is to idealize women,” Vivienne Westwood has said of her work, including the fall/winter collection “On Liberty,” which premiered in Paris in 1994. Her appropriation of historic styles is well known, but in this collection a reinvention of the bustle, the nineteenth-century skirt support that accented a woman’s behind and allowed for elaborate skirt drapery, is more fluid than similar iterations have been. Westwood’s stark wire cage from 1990, for instance, was not so

Koji Tatsuno

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Haute Couture in Paris, 1990s

Tony Glenville

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The beginnings of haute couture are generally accepted as being with Charles Frederick Worth in 1858; during the intervening decades, the rise and fall of the business of made-to-measure clothes in the salons of Paris has been a subject of endless discussion and debate. Flourishing in the early years of the twentieth century, and kept alive throughout the occupation of Paris during World War II, it was rejuvenated by Christian Dior in 1947. Haute couture was threatened by the rise of ready-to-wea

Jean Paul Gaultier Menswear, Fall/Winter 1989

Tony Glenville

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

It is firstly important to put Gaultier within the context of his times. From the first catwalk show he was considered an “enfant terrible” yet at the same time a superb craftsman, and a designer who acknowledged the history and heritage of French fashion. His view of the world was from Paris and however much time he spent time in London and declared his admiration for London club culture and youthful attitudes to style, he remains a designer whose reference points span Madame Grès to Barbès Roch

Louis Vuitton (house)

Stephanie Edith Herold

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Kenzo Takada

Stephanie Edith Herold

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

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