Design and Making
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- Fashion Business
Organizations and Design Houses
- Pierre Cardin (1)
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Source: In Fashion, 3rd Edition, 2017, Fairchild Books Library
Behold the many faces of fashion—fun, fantastic, frivolous, frantic, fabulous, futuristic, flirtatious, fresh, and financial. Fashion is all of this, and much more. Fashion is the most dynamic of American businesses. It thrives on change—and change is the engine that fuels it. Life might be easier if we never had to change. However, if the fashion business did not change, it would not survive. Refer to Figure 1.1 for an example of fashion’s constant evolution.
Source: Fashion Photography Archive, 2015, Fashion Photography Archive
Source: Survey of Historic Costume, 6th Edition, 2015, Fairchild Books Library
During the 1950s the world became a much smaller place. The rapid development of air travel, the almost instant transmission of news from one part of the world to another, and the transition from national to globally interdependent economies spread fashion and other information faster than ever before (Figure 17.1). It was no longer possible to understand the historical background of a period by examining developments only in western Europe and North America.
Source: The World of Fashion, 5th Edition, 2013, Fairchild Books Library
Modern fashion is about freedom, democracy, and individualism, and this is a development that I, for one, welcome.
Source: The Berg Companion to Fashion, 2010, Berg Fashion Library
Born in Italy of French parents on 2 July 1922, the designer was originally named Pietro Cardini. After several years in Venice, however, his family relocated to France. As a young man Cardin briefly studied architecture before joining the house of Paquin in 1945. His tenure there gave him the opportunity of working with Christian Bérard and Jean Cocteau on the 1946 film La Belle et la bête, for which he created the velvet costume for the Beast, played by Jean Marais. After a brief stint with Els