Topic: Art Focus Artist : Exploring Fashion- Various Designers Year

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Topic: Art Focus Artist : Exploring fashion- various designers Year Group: Term: Key Skills Key Knowledge Key Vocabulary Drawing: - Gabrielle "Coco" Chanel was the - Avant-garde they successfully use shading to create mood founder of the Chanel brand. She - Boutique and feeling popularized a sporty, casual chic as - Chic the feminine standard of style. - Couturier their sketches communicate emotions and a - Dior's designs were more voluptuous - Haute couture sense of self with accuracy and imagination than the boxy, fabric-conserving - Eau de toilette shapes of the recent World War II - Lingerie they explain why they have combined styles, influenced by the rations on - Motif different tools to create their drawings fabric. - Prêt-à-Porter - Italian-born Pierre Cardin is known - Designers they explain why they have chosen specific for his avant-garde style and his - Trends drawing techniques Space Age designs. - Moodboard - Yves Saint-Laurent is regarded as one - Chanel Textiles: of the greatest names in fashion - Dior - Pierre Cardin they create designs taking into account history. - Yves Saint Lauren textile properties and purpose or outcome. - Karl Lagerfeld is the head designer - Karl Lagerfeld and creative director of the fashion - Jean-Paul Gautier they include both visual and tactile elements house Chanel as well as his own in their work fashion label - Dye materials to suit designs that they have created Collage: they justify the materials they have chosen (fashion) they combine pattern, tone and shape End outcome : To create a piece of fashion linked to their moodboard and preferred Fashion designer. Previous Learning Topics Key Skills Key Knowledge Key Vocabulary Drawing they explain why they have chosen specific materials to draw with they identify and draw simple objects, and use marks and lines to produce texture they organise line, tone, shape and colour to represent figures and forms Collage/ textiles not covered Resources es es Act iviti https://www.youtube.com/watch?v=htzz6DwNIH4 11 year old fashion designer. - Sketchbooks What is our new topic? - Pencils - Magazines 1. Show powerpoint- famous fashion designers, ( Chanel, Dior, Pierre Cardin, Yves Saint - Textile fabric Lauren, Karl Lagerfeld, Jean-Paul Gautier- Discuss. - IPads Most influential designers- https://www.youtube.com/watch?v=YsoDJeEd9mo • Investigate in pairs choose one- • André Courrèges • Hubert de Givenchy • Christian Lacroix • Jeanne Lanvin • Paco Rabanne • Nina Ricci • Emanuel Ungaro • René Lacoste • Louis Vuitton Create a poster type project in sketch books- sketching designs, anything iconic to that designer, any facts that stand out. Feedback. what do you notice about their fashion are there any trends, how do they compare to other designers ? What does it take to be a fashion designer ? https://www.youtube.com/watch?v=367veujwj_Y 2. SG friend (designer ‘Yas’) – Discuss with children the process of design. 3. Children create moodboard to inspire their own designs- collage. Use sample fabrics, magazines, famous culture, and music. 4. Liverpool fashion college visit? 5. Design own fashion item linked to moodboard and advice from Liverpool College. .

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Jeanne Lanvin
JEANNE LANVIN A 01long history of success: the If one glances behind the imposing façade of Rue du Faubourg Saint-Honoré, 22, in Paris, Lanvin fashion house is the oldest one will see a world full of history. For this is the Lanvin headquarters, the oldest couture in the world. The first creations house in the world. Founded by Jeanne Lanvin, who at the outset of her career could not by the later haute couture salon even afford to buy fabric for her creations. were simple clothes for children. Lanvin’s first contact with fashion came early in life—admittedly less out of creative passion than economic hardship. In order to help support her six younger siblings, Lanvin, then only fifteen, took a job with a tailor in the suburbs of Paris. In 1890, at twenty-seven, Lanvin took the daring leap into independence, though on a modest scale. Not far from the splendid head office of today, she rented two rooms in which, for lack of fabric, she at first made only hats. Since the severe children’s fashions of the turn of the century did not appeal to her, she tailored the clothing for her young daughter Marguerite herself: tunic dresses designed for easy movement (without tight corsets or starched collars) in colorful patterned cotton fabrics, generally adorned with elaborate smocking. The gentle Marguerite, later known as Marie-Blanche, was to become the Salon Lanvin’s first model. When walking JEANNE LANVIN on the street, other mothers asked Lanvin and her daughter from where the colorful loose dresses came.
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The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identiﬁ ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
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The 18Th Century Back in Fashion
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Haute Couture
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The Impact of World War II on Women's Fashion in the United States and Britain
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Lanvin's Designs
here is no city that takes fashion more seriously than Paris. It is the home of haute couture Tand the city of the Sun King, Louis XIV, whose dazzling court catapulted French fashion into the global spotlight and gave birth to the luxury goods business. In July, when the sun gives the Champs Elysées a warm honeyed glow, new fashion fantasies are born at Paris’s exclusive haute couture shows. These shows with their magical creations demonstrate the very frontiers of craftsmanship, where the talent of the métiers d’art (master artisans) are put to the ultimate test in translating a designer’s vision of beauty into a wearable garment. Like Paris itself, haute couture is about dreams and romance, but many debate its relevance in the modern world. One man lanvin’s who would dispute this is Olivier Saillard, director of the Palais Galliera, the city’s renowned museum of fashion currently designs holding a retrospective of couturier Jeanne Lanvin (1867-1946), to 23 August. on Before Coco Chanel, Lanvin was the force in fashion, having launched her couture house – the oldest in Paris – in 1889. She blazed a trail as an entrepreneur, creating the world’s first luxury lifestyle brand as she moved from designing hats to children’s clothes, women’s wear, lingerie and interior décor. She opened shops in Biarritz, Barcelona and Buenos Aires, and invented the idea of four fashion seasons. In 1927, on her daughter Marguerite’s e 30th birthday, she celebrated by The Lanvin launching the legendary perfume exhibition with ari vintage photos of How couturier Jeanne Lanvin Arpège with its famous mother- the great designer P helped establishS Paris as and-daughter logo that became the i visual identity of the brand.
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Balenciaga, Analogías Y Diferencias Con Lanvin, Givenchy Y Saint Laurent
Balenciaga Analogías y diferencias con Lanvin, Givenchy e Yves Saint Laurent. Virginia Medina León Índice de contenidos Índice de contenidos ..................................................................................... 2 1. Cristóbal Balenciaga ............................................................................... 3 1.1. Introducción a Cristóbal Balenciaga ................................................ 3 2. Cristóbal Balenciaga: Analogías y Diferencias con Jeanne Lanvin, Hubert de Givenchy e Yves Saint-Laurent. ................................................ 8 2.1. Jeanne Lanvin ................................................................................... 8 2.1.1. Analogías entre Cristóbal Balenciaga y Jeanne Lanvin ............ 9 2.1.2. Diferencias entre Cristóbal Balenciaga y Jeanne Lanvin ....... 11 2.1.3. Imágenes ................................................................................... 12 2.2. Givenchy ......................................................................................... 17 2.2.1. Analogías entre Cristóbal Balenciaga y Hubert de Givenchy 18 2.2.2. Diferencias entre Cristóbal Balenciaga y Hubert de Givenchy 20 2.2.3. Imágenes ................................................................................... 21 2.3. Yves Saint-Laurent ........................................................................ 25 2.3.1. Analogías entre Cristóbal Balenciaga e Yves Saint-Laurent . 26 2.3.2. Diferencias entre Cristóbal Balenciaga e Yves Saint-Laurent 28 2.3.3. Imágenes ..................................................................................
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An Investigation of the Impact of Changing Social Norms on Female Clothing Attire Pre and Post WW II
Utah State University DigitalCommons@USU Undergraduate Honors Capstone Projects Honors Program 5-2018 An Investigation of the Impact of Changing Social Norms on Female Clothing Attire Pre and Post WW II Bailey Marie Burningham Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/honors Part of the Marketing Commons Recommended Citation Burningham, Bailey Marie, "An Investigation of the Impact of Changing Social Norms on Female Clothing Attire Pre and Post WW II" (2018). Undergraduate Honors Capstone Projects. 470. https://digitalcommons.usu.edu/honors/470 This Thesis is brought to you for free and open access by the Honors Program at DigitalCommons@USU. It has been accepted for inclusion in Undergraduate Honors Capstone Projects by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. AN INVESTIGATION OF THE IMPACT OF CHANGING SOCIAL NORMS ON FEMALE CLOTHING ATTIRE PRE AND POST WW II by Bailey Marie Burningham Capstone submitted in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS with a major in Marketing in the Department of Management Approved: Capstone Mentor Departmental Honors Advisor Professor Nancy Hills Dr. Deanne Brocato University Honors Program Director Dr. Kristine Miller UTAH STATE UNIVERSITY Logan, UT Spring 2018 Copyright 2016 Bailey Marie Burningham AN INVESTIGATION OF THE IMPACT OF CHANGING SOCIAL NORMS ON FEMALE CLOTHING ATTIRE PRE AND POST WWII by Bailey Marie Burningham Capstone submitted in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS with a major in Marketing in the Department of Management Approved: UTAH STATE UNIVERSITY Logan, UT Spring 2018 Acknowledgements The work done on this project could not have been completed without the help of Dr.
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IN the Air NEW WIN Drom OLFACTIVE Trend COMING Next
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Vogue on Christian Dior
Dior’s monochromatic Mexique dress from 1951. Photograph Henry Clarke. A René Bouché sketch of Dior’s 1949 cocktail dress with sweeping floor sash. Dior photographed by Henry Clarke for Vogue with his favorite model, Renée, in 1957. Contents FORTUNE’S FAVOR NEW LOOK CHANGING SEASONS COMPLETELY DIOR DIOR’S LEGACY Index of Searchable Terms References Picture credits Acknowledgments “OF COURSE FASHION IS A TRANSIENT, EGOTISTICAL INDULGENCE, YET IN AN ERA AS SOMBRE AS OURS, LUXURY MUST BE DEFENDED CENTIMETRE BY CENTIMETRE.” CHRISTIAN DIOR FORTUNE’S FAVOR F YOU CONJURED AN IMAGE of a fashion designer in your mind, you mIight not settle on one who looked like Christian Dior. A man “with an air of baby plumpness still about him and an almost desperate shyness augmented by a receding chin” as American Vogue’s Bettina Ballard recalled in 1946. Or the “plump, balding bachelor of fifty-two whose pink cheeks might have been sculpted from marzipan,” as described by Time reporter Stanley Karnow in 1957. The same sugary confection found its way into the great photographer Cecil Beaton’s account of Dior: “a bland country curate made out of pink marzipan.” Not that Christian Dior was unaware of the shortfall in his appearance. He wrote, “I could not help thinking that I cut a sorry figure – a well-fed gentleman in the Parisian’s favourite neutral-coloured suit – compared with the glamour, not to say dandified or effeminate couturier of popular imagination.” Dior was a man who knew what a legend should look like. Photographed for Vogue on February 12, 1947—the day his New Look was launched upon the world—Dior is pictured dressed in sepulchral black, markedly glum, giving credence to his description in Life magazine as “a French Undertaker.” In the photograph the designer looks anything but legendary, anxiety writ large in the downturn of his mouth, in his distracted, sidelong gaze.
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Kerry Taylor Antique and Vintage Fashion and Textiles, Tuesday April 17Th 2012 by Zita Thornton
Textiles Kerry Taylor Antique and Vintage Fashion and Textiles, Tuesday April 17th 2012 By Zita Thornton hether belonging to Princess Diana, WKate Middleton or Audrey Hepburn, Kerry Taylor has offered some amazing celebrity dresses in past sales and this current sale was no exception. Three stunning, mid- twentieth dresses from the wardrobe of the film star Margaret Lockwood achieved the expected bids. The first Fig 1. Lot 58 was a pretty Victor Stiebel at Jacqmar dance dress in cafe au lait lace over tulle petticoats, with a brown velvet ribbon and bow trim. Right on the button for today’s fashion, the hammer fell at £280. The second Lockwood offering Fig 2. Lot 59 was an elegant Norman Hartnell off the shoulder dance dress, this time in ivory lace. With an unusual scalloped hemline and neck and waistline studded with rhinestones, beads and silver embroidery it was no surprise that this achieved £400. The third eye catching dress from Margaret Lockwood, Fig 3. Lot 60 was a full chiffon ballgown, swathed in star spangled Fig 3. Lot 60. Margaret Lockwood’s tulle which must have sparkled in the flash light of the photogra- Victor Stiebel at Jacqmar ball gown, phers at the Empire, Leicester Square when she wore it in c1952, labelled, of cream chiffon October 1952. Understandably this dress was the costliest of the Fig 1. Lot 58. Margaret Lockwood’s overlaid with blue tulle embroidered three and bidding raised £550. Victor Stiebel at Jacqmar cafe au lait with gold stars and spangled with After the success of those three lots, brisk bidding achieved lace dance dress, mid 1950s, gold sequins, Worn at the Empire labelled, with boned bodice, brown Leicester square, October 1952, above expected results for the next few lots of nineteenth century where she was photographed in the garments.
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