5
Complex Concepts Presented Simply
Chapter 2 Knowing About Fashion
45
The back fullness silhouette
has a skirt that
puffs out in back but not in front. For this, there
has been draping of fabric at the back hipline
or a bustle to give back fullness. Sometimes suit
jackets also flare out in back.
The
tubular silhouette
has a slim skirt all
around. It sometimes has a high or low waistline.
It often hangs from the shoulders to the hem
without being belted. It has mostly vertical lines.
Fashion cycles in men’s clothing can be
seen in the different widths of neckties, lapels,
and trouser legs. They fluctuate over time by
moving from narrow, to medium, to wide, and
then to narrow again. Also, the tops of trousers
may have pleats at the waist or be tight from
waist to hips. Trouser bottoms sometimes have
cuffs and sometimes have no cuffs.
Figure
2-17
summarizes the American
fashion trends of the 1900s. Recently, cycles
have not been as distinct as in past centuries.
The pace of fashion change is tied to the
overall pace of the culture. Rapid change
takes place now because of new technology in
communications, manufacturing, and retailing.
Current fashion trends seem to occur in 20- to
30-year cycles, or the span of a generation.
Today most clothes are practical and
comfortable. They have freedom of movement
and are functional. Fashions seem unpredictable
and individualistic. Consumers now think
more freely. They buy what they like, what
they need, and what they can afford. However,
these fashions will also become part of clothing
history.
Styles must sell to stay in fashion. Designers
try to appeal to the public, so as many clothes
as possible will be purchased. Because of varied
lifestyles, more clothing styles are popular
at a time. Mass production allows a variety
of fashion looks to be available to all. Also,
worldwide communication, trade, and travel
spread fashion ideas quickly. They permit many
fashion looks to be popular everywhere. Today,
several basic styles may exist at the same time
with minor trends of fashion changing quickly.
Social and Economic
Influences on Fashion
Fashion has always reflected social and
economic conditions, current events, technology,
popular entertainment, and people’s values
and attitudes. The decoration on the clothes
of the past related to the general thinking and
art forms of the time. In the Victorian period,
for instance, small, intricate decoration was
Twentieth Century
Fashion Trends
1900s— Edwardian elegance
1900s
1920s
1950s
1970s
1910s— Influence of early movie stars
1920s— Carefree, jazzy, “flapper” era
1930s— Clingy, draped, long fashions
1940s— Padded look; World War II influence
1950s— Sloppy; bobby socks and sneakers;
poodle skirts
1960s— Pop or mod decade; coordinated
costumes; miniskirts; pantsuits for women
1970s— Men’s leisure suits; bold neckties; double-knit
jackets; pants flared at bottoms
1980s— Preppy look; designer jeans; natural fibers;
comfort
1990s— Oversized fit; lack of color—much black; casual
office attire
2-17
American fashion trends in the twentieth century were fun and interesting, but silhouettes were not as distinct as in other
centuries.
Chapter 10 The Element of Color
203
pale blue shirt is an example of a monochromatic
color scheme. Brown slacks with a beige shirt
is also monochromatic. See
10-6. Neutrals are
sometimes added to a monochromatic scheme
for contrast and interest.
Analogous Color Scheme
An
analogous color scheme
uses neigh-
boring, or adjacent, colors on the wheel. It is
sometimes called a
related color scheme
since two
or three related colors are used. To avoid monot-
ony in clothing, different values and intensities
might be used for some contrast. This plan is
used when blue and green are put together,
or orange and yellow, or pink and violet. The
combination of yellow, yellow-green, and green
is an analogous scheme with three hues. In
nature, the yellow, orange, and red of autumn is
an analogous color scheme. Also, the blue, aqua,
and green of sky, water, and grass is analogous.
Complementary Color Scheme
A
complementary color scheme
uses
opposite hues on the color wheel. Comple-
mentary colors are across from each other on
the wheel. They have great contrast. In fact, the
colors look even brighter when they are used
side by side. Examples of complementary color
combinations are red and green, violet and
yellow, and orange and blue, as in
10-7.
School colors are often of complementary
schemes, so uniforms and banners look vivid
and exciting. Be careful when considering this
plan for daytime clothing. Worn together in full
strength, these colors can be jolting. However,
when used in tints and shades, they can be
sophisticated and pleasing. A soft tint of one
is usually attractive with a deep shade of the
other. Also, intensities can be dulled, or a large
area of one hue and a small amount of the other
can be used.
Split-Complementary Color
Scheme
A
split-complementary color scheme
uses
three colors. It combines one color with the two
colors on the sides of its complement. For
Monochromatic Analogous
Complementary Split-complementary
Triad
Accented neutral
Color Schemes
10-5
Different hues may be used in these six color schemes,
but the relative positions of the hues on the wheel do not change.
David’s Bridal
10-6
This monochromatic outfit not only has different
shades of the same red (burgundy) hue, but also uses
different textures to accentuate the color scheme.
80
Part Two Apparel Industries
Some Top American Fashion Designers and Firms
Adolfo —Cuban born; started with dramatic hats; now tasteful,
classic, feminine dresses and suits; some licensing and RTW.
Geoffrey Beene—Sophisticated
elegance with unusual details
since the 1940s; a Coty Award winner; died in 2004.
Dana Buchman—Beautiful
women’s fashions for busy lifestyles.
Liz Claiborne—Firm
continues with many brands (Dana
Buchman, Kate Spade, DKNY, Kensie, etc.) and outlet
stores; died in 2007.
Oscar De La Renta
—Dominican of Spanish descent; creates
romantic, colorful, glamorous fashions with ruffles and
flourishes for own label and others; Coty Hall of Fame.
Louis Dell-Olio—Designs
several lines with different labels;
does furs, shoes, suits, and sportswear.
Carolina Herrera—Elegant
women’s creations.
Tommy Hilfiger—Classic
American styles and jeans updated
with unique twists.
Betsey Johnson—Originally
based on dance costumes, now
many stores worldwide with fresh, unique designs.
Norma Kamali—Designs
avant-garde fashions with unusual
materials and ease of movement.
Donna Karan—Designs
simple, sensual women’s clothes that
stretch and move well; also DKNY label at a lower price
point; Coty Hall of Fame.
Calvin Klein—All-American
sportswear designs with
sophisticated simplicity; status jeans; has many famous
clients; Coty Hall of Fame.
Michael Kors—Provocative,
comfortable women’s clothes.
Ralph Lauren—Uses
blazers with looks from prairie rugged
to English gentry to romantic; home fashions; retail stores;
Polo logo; Coty Hall of Fame.
Michael Leva—Young
designer known for easy experimental
classics.
Bob Mackie—Designs
for Hollywood stars; lots of beaded work.
Mary McFadden—Unusual,
artistic, eccentric designs in
decorative fabrics; luxurious evening clothes; Coty Hall
of Fame.
Nicole Miller—Beautifully
cut, contemporary, whimsical
clothes; generous charitable giving.
Josie Natori—Lingerie
and accessories with fine detailing.
Tom & Linda Platt—Irreverent
fabric and color combinations;
elegant but uncomplicated garments.
Arnold Scaasi—Glamorous
gowns; Coty Award winner.
Adrienne Vittadini—Patterned
knits; several lines; licenses;
boutiques.
Vera Wang—Elegant,
sexy wedding gowns and other fine apparel.
4-12
Many American designers have built their design businesses into large, successful firms. Most companies continue after
the designer’s death.
Some Italian Fashion Names
Giorgio Armani
—Milan; did menswear first, creates masculine,
unstructured, layered designs for women; witty; relaxed
refinement.
Benetton—Knitwear;
many worldwide outlets; corporate
advocacy advertising.
Nino Cerruti—RTW
knitwear.
Dolce and Gabbana—Design
team with sometimes
outrageous women’s wear and menswear, often in knits.
Fendi—Rome;
sisters started with leather accessories; now
also furs and RTW.
Ferragamo—Florence;
a family business started with shoes;
died in 1960.
Gianfranco Ferre—Known
for elegant, romantic, chic designs;
once designed for House of Dior; died in 2007.
Gucci —Founded in Florence in 1921 by Guccio Gucci (he
created the
GG logo), who died in 1953; family-run until 1987.
Now a corporate fashion conglomerate, Gucci Group.
Andre Laug—Rome; very original, wearable women’s
ensembles.
Mariuccia Mandelli—Milan;
designs the Krizia Collection with
husband, Aldo Pinto; started hot pants in the 1960s; now does
dresses, suits, animal knits, and other sweater dressing.
Rosita and Ottavio Missoni—Children
and grandchildren join
them in creating multicolored knitwear and other products.
Emilio Pucci—Simple
structural garment shapes for women;
strong artistic prints and signed fabrics; died 1992.
Gianni Versace—Milan;
known for slinky, chain mail evening
dress; also very original daytime outfits; since his death
in 1997, designing has been done by his sister, Donatella.
4-13
Italy has become well known for fashion, including leather products, knitwear, and garments with international flair.
Charts and Illustrations
5 5 5 5
62
Part One Clothes and Fashion
Parka
Poncho
designs
3-25
Ponchos are loose garments that slip over the head.
Parkas, on the other hand, can be snug at the waistline and cuffs.
Jacket Styles
Chanel
Bolero
Box
Norfolk
Windbreaker
Pea
Safari
3-23
The variety in jacket styles seems endless.
3-24
The jacket on the left is single-breasted, with one row
of buttons and buttonholes. The coat on the right is double-
breasted. It has a wider overlap at center front and two rows
of buttons.
62 P t One C
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Summarize content
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Clarify concepts