BIENVENIDO a este nuestro BLOG, este blog está dedicado a todas las personas que al igual que yo sienten pasión por la moda, me gustaría que me dieráis vuestra opinión, para así poder mejorarlo. espero que sea de su gusto y que lo disfrute, si desea alguna otra información, no tiene más que comunicarlo.
Welcometo thisour blog, this blogis dedicated to allpeopleas Ihave a passionfor fashion, I'd liketo give meyour opinion, so we canimprove it.I hopeyour tasteand enjoy it,if you need anyother information,has more tocommunicate.
In this blog, we are talking both in Spanish and English. Thanksyou for your coments. If you have any question you can ask us, ifyou want that we talking about something please tell us. Thank youfor reading us. See you!!
En este blog, vamos hablar tanto en Inglés como en Español. Gracias por vuestros comentarios. Si tienes alguna pregunta, haznósla, si quieres que hablemos de algo en especial por favor dinóslo. Gracias por leernos. Un saludo.
The first fashion designer who was not merely a dressmaker was Charles Frederick Worth (1826–1895). Before the former draper set up his maison de couture(fashion house) in Paris, clothing design and creation was handled by largely anonymous seamstresses, and high fashion descended from styles worn at royal courts. Worth's success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done.
The outfits worn by the fashionable women of the 'Belle Époque' (as this era was called by the French) were strikingly similar to those worn in the heyday of the fashion pioneer Charles Worth. By the end of the 19th-century, the horizons of the fashion industry had generally broadened, partly due to the more stable and independent lifestyle many well-off women were beginning to adopt and the practical clothes they demanded. However, the fashions of the La Belle Époque still retained the elaborate, upholstered, hourglass-shaped style of the 19th century. As of yet, no fashionable lady could (or would) dress or undress herself without the assistance of a third party. The constant need for radical change, which is now essential for the survival of fashion within the present system, was still literally unthinkable. The use of different trimmings were all that distinguished one season from the other.
During the early years of the 1910s the fashionable silhouette became much more lithe, fluid and soft than in the 20th century. When the Ballets Russes performed Scheherazade in Paris in 1910, a craze for Orientalism ensued. The couturier Paul Poiret was one of the first designers to translate this vogue into the fashion world. Poiret's clients were at once transformed into harem girls in flowing pantaloons, turbans, and vivid colors and geishas in exotic kimono. Paul Poiret also devised the first outfit which women could put on without the help of a maid. The Art Deco movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 20th century. It is also notable that the first real fashion shows were organized during this period in time, by the first female couturier, Jeanne Paquin, who was also the first Parisian couturier to open foreign branches in London, Buenos Aires, and Madrid.
Two of the most influential fashion designers of the time were Jacques Doucet and Mariano Fortuny.
Soon after the First World War, a radical change came about in fashion. Bouffant coiffures gave way to short bobs, dresses with long trains gave way to above-the-knee pinafores. Corsets were abandoned and women borrowed their clothes from the male wardrobe and chose to dress like boys. Although, at first, many couturiers were reluctant to adopt the new androgynous style, they embraced them wholeheartedly from around 1925. A bustless, waistless silhouette emerged and aggressive dressing-down was mitigated by feather boas, embroidery, and showy accessories. The flapper style (known to the French as the 'garçonne' look) became very popular among young women. The cloche hat was widely-worn and sportswear became popular with both men and women during the decade, with designers like Jean Patou and Coco Chanel popularizing the sporty and athletic look.
The great couturière Coco Chanel was a major figure in fashion at the time, as much for her magnetic personality as for her chic and progressive designs. Chanel helped popularize the bob hairstyle, the little black dress, and the use of jersey knit for women's clothing and also elevated the status of both costume jewelry and knitwear.
In the 1930s, as the public began to feel the effects of the Great Depression, many designers found that crises are not the time for experimentation. Fashion became more compromising, aspiring to preserve feminism's victories while rediscovering a subtle and reassuring elegance and sophistication. Overall, 1930s clothing was somber and modest, reflecting the difficult social and economic situation of the decade. Women's fashions moved away from the brash, daring style of the 1920s towards a more romantic, feminine silhouette. The waist was restored to its proper position, hemlines dropped, there was renewed appreciation of the bust, and backless evening gowns and soft, slim-fitting day dresses became popular. The female body was remodeled to a more neo-classical shape and slim, toned, and athletic bodies came into vogue. The fashion for outdoor activities stimulated couturiers to manufacture what would nowadays be called sportswear. The term 'ready-to-wear' was not yet widely used, but the boutiques already described such clothes as being 'for sport'.
Many fashion houses closed during occupation of Paris during World War II, including the Maison Vionnet and the Maison Chanel. Several designers, including Mainbocher, permanently relocated to New York. In the enormous moral and intellectual re-education program undertaken by the French state couture was not spared. In contrast to the stylish, liberated Parisienne, the Vichy regime promoted the model of the wife and mother, the robust, athletic young woman, a figure who was much more in line with the new political criteria. Germany, meanwhile, was taking possession of over half of what France produced, including high fashion, and was also considering relocating French haute couture to the cities of Berlin and Vienna, neither of which had any significant tradition of fashion. The archives of the Chambre Syndicale de la Couture were seized, most consequentially the client list. The point of all this was to break up a monopoly that supposedly threatened the dominance of the Third Reich.
The couturier Christian Dior created a tidal wave with his first collection in February 1947. The collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices, in a manner very similar to the style of the Belle Époque. The extravagant use of fabric and the feminine elegance of the designs appealed greatly to a post-war clientele and ensured Dior's meteoric rise to fame. The sheer sophistication of the style incited the all-powerful editor of the American Harper's Bazaar, Carmel Snow, to exclaim 'This is a new look!'.
Flying in the face of continuity, logic, and erudite sociological predictions, fashion in the 1950s, far from being revolutionary and progressive, used more from the previous decade. A whole society which, in the 1920s and 1930s, had greatly believed in progress, was now much more circumspect. Despite the fact that women had the right to vote, to work, and to drive their own cars, they chose to wear dresses made of opulent materials, with corseted waists and swirling skirts to mid-calf. As fashion looked to the past, haute couture experienced something of a revival and spawned a myriad of star designers who profited hugely from the rapid growth of the media.
Throughout the 1950s, although it would be for the last time, women around the world continued to submit to the trends of Parisian haute couture. Three of the most prominent of the Parisian couturiers of the time were Cristobal Balenciaga, Hubert de Givenchy, and Pierre Balmain. The frugal prince of luxury, Cristobal Balenciaga Esagri made his fashion debut in the late 1930s. However, it was not until the post-war years that the full scale of the inventiveness of this highly original designer became evident. In 1951, he totally transformed the silhouette, broadening the shoulders and removing the waist. In 1955, he designed the tunic dress, which later developed into the chemise dress of 1957. And eventually, in 1959, his work culminated in the Empire line, with high-waisted dresses and coats cut like kimonos.
Until the 1960s, Paris was considered to be the center of fashion throughout the world. In stark contrast to their mature, ultra-feminine mothers, the women of the 1960s adopted a girlish, childlike style, with short skirts and straightened curves, reminiscent of the look of the 1920s. At the start of the decade skirts were knee-length, but steadily became shorter and shorter until the mini-skirt emerged in 1965. By the end of the decade they had shot well above the stocking top, making the transition to tights inevitable.
Nicknamed the 'me' decade; 'please yourself' was the catchphrase of the 1970s. Some saw it as the end of good taste. The decade began with a continuation of the hippie look of the late 1960s, with afghans, Indian scarves, and floral-print tunics. Jeans remained frayed and bell-bottomed, tie dye was still popular, and the fashion for unisex mushroomed. An immense movement claiming civil rights for blacks combined with the influence of soul music from the USA created a nostalgia for Africa and African culture. A radical chic emerged, influenced by the likes of James Brown, Diana Ross, Angela Davis, and the Black Panthers, in everything from afro hairstyles to platform soles. During the 1970s brands greatly increased their share of the international market. Hems began dropping in 1974 to below the knee, until finally reaching the lower mid calf in 1977 and shoulderlines were dropped.
Perhaps the two most innovative fashion designers in 1970s France were Kenzo Takada and Sonia Rykiel. The undisputed star of Parisian fashion in the 1970s, Kenzo drew his inspiration from all over the world, mixing Western and Oriental folk influences with a fantastic joie de vivre and an instinctive understanding of what his young customers wanted.
The society of the 1980s no longer criticized itself as consumerist, but was, instead, interested in 'the spectacle'. The self-conscious image of the decade was very good for the fashion industry, which had never been quite so à la mode. Fashion shows were transfigured into media-saturated spectaculars and frequently televised, taking high priority in the social calendar. Appearance was related to performance, which was of supreme importance to a whole generation of young urban professionals, whose desire to look the part related to a craving for power. The way in which men and women associated with the latest styles was no more a matter of passive submission but Disco music rapidly fell out of favor as the decade began, along with its associated clothing styles. By 1982, the last traces of 1970s fashion were gone.
The two French fashion designers who best defined the look of the period were Thierry Mugler and Azzedine Alaia.
In the 1990s it was no longer the done thing to follow fashion slavishly, a sharp contrast to the highly a la mode 1970s and 1980s. The phobia of being underdressed was finally completely displaced by the fear of overdressing. Fashion in the 1990s united around a new standard, minimalism, and styles of stark simplicity became the vogue. Despite the best efforts of a few designers to keep the flag for pretty dresses flying, by the end of the decade the notion of ostentatious finery had virtually disappeared. As well as the styling of the product, its promotion in the media became crucial to its success and image. The financial pressures of the decade had a devastating effect on the development of new talent and lessened the autonomy enjoyed by more established designers.
Fashion at the end of the 20th century tackled themes that fashion had not previously embraced.
In the 2000s, as the future began to seem increasingly bleak, fashion, and indeed the Arts in general, looked to the past for inspiration, arguably more so than in previous decades. Vintage clothing, especially from the 1960s, 1970s, and 1980s (the 1980s idea of clashing, electric colours becoming especially popular in mid-late 2007) became extremely popular and fashion designers often sought to emulate bygone styles in their collections. The early 2000s saw a continuation of the minimalist look of the 1990s in high fashion. Later on, designers began to adopt a more colorful, feminine, excessive, and 'anti-modern' look. Name brands became of particular importance among young people and many celebrities launched their own lines of clothing. Tighter fit clothing and longer hair became mainstream for many men and women.