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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 Skill of Couture Draping

Zoya Nudelman

Source: The Art of Couture Sewing, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Grainline refers to the orientation of the yarns in a woven fabric. The lengthwise grains run along the length of the fabric and are called the warp yarns. The yarns that are woven in and out perpendicular to the warp yarns are called the weft yarns. These run side to side forming the cross grain of the fabric. The weft yarns are woven to form selvage on both sides of the fabric. The selvage is a finished edge that is formed by the weft yarns being woven, rotating side to side. (Figure 5.2)

Sophia Kokosalaki

Amber Jane Butchart

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Minimalism

Lorynn Divita

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Since the early twentieth century, the fashion pendulum returns periodically to minimalism, with its focus on simple lines, geometric shapes, architectural tailoring, and high-quality fabrics. Early renowned minimalist designers include Madeline Vionnet, who in the 1910s was known as the “architect among designers,” and the style reached widespread popularity with Coco Chanel’s Little Black Dress in the 1920s. American designers such as Claire McCardell incorporated minimalistic principles in gar

Fabric Manipulation

Kimberly A. Irwin

Source: Surface Design for Fabric, 2015, Fairchild Books Library

Book chapter + STUDIO

Appliqué is the process of attaching another fabric, or patch, called patchwork, or ribbon or trim, called passementerie, to the surface of another fabric.

The Twenties, Thirties, and World War II, 1920–1947

Phyllis G. Tortora and Sara B. Marcketti

Source: Survey of Historic Costume. Student Study Guide, 6th Edition, 2015, Fairchild Books Library

Book chapter

After studying this chapter, you will be able to:

The Twenties, Thirties, and World War II 1920–1947

Phyllis G. Tortora and Sara B. Marcketti

Source: Survey of Historic Costume, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

With the end of World War I, Europe and the United States hoped for a return to normalcy. U.S. President Woodrow Wilson, a strong proponent of the League of Nations, campaigned arduously for ratification of the Treaty of Versailles and membership for the United States in the League. These efforts cost him his health—he suffered a breakdown in 1919—and he was an invalid for the remainder of his 17 months in office. In the end, the Senate defeated the treaty, and the United States never joined the

Vionnet, Madeleine*

Rebecca Arnold

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

Encyclopedia entry

Around 1900 Vionnet moved to Callot Soeurs’s celebrated couture house in Paris. There she began to understand the significance of garment design that sprang from draping fabric directly onto a live model, rather than sketching a design on paper and then translating it into fabric. This approach necessarily focused attention on the body and its relationship to the way fabric was draped and sculpted around its contours. Vionnet exploited this technique to the full. For Vionnet, draping—in her case

France

Kimberly Chrisman-Campbell

Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library

Encyclopedia entry

The French Revolution abolished the rigid dress etiquette and bureaucracy of the ancien régime fashion industry. Napoleon’s campaigns inspired fashions with soldierly details and created a vogue for exotic accessories. His imperial court ensured the survival of French luxury goods industries, while promoting a more modern silhouette. Napoleon encouraged pre-Revolutionary tastes for classical Greek and Roman styles, to glorify his own reign. The restoration of the Bourbon monarchy and the Romantic

Vionnet … Classicism

Rebecca Arnold

Source: Classic and Modern Writings on Fashion, 2nd Edition, 2009, Berg Fashion Library

Book chapter

‘The nude body and draped cloth became essential elements of idealised vision; they came to seem correct for conveying the most valid truths of life, entirely through the persuasive force of their appearance in works of an rather than through the original significance attached to them in real life. The “natural” beauty of cloth and the “natural” beauty of bodies have been taught to the eye by art, and the same has been the case with the natural beauty of clothes.’HollanderA., Seeing through Cloth

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