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Introduction of Design Elements The design of a garment requires the selection and interpretation of colour, fabric, styling and fit. When these elements work together, the garment enhances the appearance of the wearer, thereby enticing him or her to make a purchase. When these components are haphazardly combined, the resulting design is disappointing. Design Elements The design elements are the building blocks of design. These elements—line, colour, texture ,pattern, silhouette and shape—are intrinsic to every product, including apparel. Line Line determines the silhouette of the garment and the shapes formed within the garment. Internal garment lines may be created by using garment seams and edges,fabric patterns and texture ,and details such as tucks, pleats, darts, gathers, and liner trims. Lines have several aspects that determine their character. These include length, boldness, thickness and direction. The impact of line is further defined by how frequently it is repeated, its placement, and whether it is used symmetrically or asymmetrically. The use of line can create optical illusions on the body. Use of vertical lines tends to elongate the figure, making it appear slimmer, whereas use of horizontal lines tends to shorten the figure, making it look wider. The optical illusions that line can create work best when the other design elements are used to enhance the impact. Unit 1 Elements of Fashion Design第一单元服装设计基本元素

Colour Because colour speaks to individuals on so many levels, it is recognized as one of the first things that attracts a customer to a garment. How colour is utilized in an ensemble can create figure illusions. Colour hues are frequently classified as either warm or cool. Warm colours— red, yellow and orange—tend to draw in the viewer and make an area appear larger. Cool colours— blue, green and violet—make an area appear smaller. Ensembles that are made up of a single colour or shades of that colour tend to be slimming because they create the illusion of height. Dark colours that absorb light tend to be more slimming than light colours. Bright colours tend to call attention to the figure and give the illusion of bulk, whereas light colours tend to flatter the face Texture Texture is the term used to describe the surface or hand of a fabric and can be attributed to a combination of the fabric's characteristics—fiber, yarn, construction, weight and finish. A fabric's hand affects how it drapes. The texture of a fabric affects how we perceive colour. Shiny surfaces reflect light, emphasizing the colour and making the figure look larger. Pile surfaces absorb light, giving the colour more variation. Pile surfaces also have more loft or thickness, thus making the figure look larger. Stiff fabrics stand away from the body. Drapey fabrics tend to cling to the body, identifying its natural curves. Each fabric a designer chooses to work with should be explored ,using a dress form to determine its natural attributes. Fabrics and their textures speak to the designer. They are used to best advantage when allowed to do what they do naturally.

Pattern Some fabrics also have pattern. Patterns can be created by the texture of the fabric; they can be constructed into the fabric through weaving, knitting or felting; they also can be applied to the fabric through printing, embossing, and other specialty techniques such as laser cutting. The popularity of specific pattern is subject to fashion cycles. In a manner similar to line, colour and texture, patterns can help to create figure illusions. The placement of large motifs may need to be engineered on the body to avoid calling attention to certain body parts. Large patterns are generally best used in garment silhouettes where there is extra fabric and the pattern can drape in folds over the body. They should not be cut up by lots of seams and details. Smaller patterns are more appropriate for close-fitting garments. Silhouette The garment silhouette is the outer shape of a garment. The size and shape of the silhouette is the first thing we see when a garment is on the body. Silhouettes are sometimes described by letters such as A, H, T, V or Y, in which the silhouette follows the shape of the letter. Silhouettes may also be described as specific shapes (trapezoid, tent, hourglass, pear or bell) or identified from periods in history (Empire or flapper). It is not always possible to see a silhouette clearly when a garment is on a hanger. When a garment is hanging, we tend to notice the colour and fabric first. The silhouette comes to life when the garment is viewed on the body (figure 1-1,figure1-2).

PARIS, July 4, 2012 Look at Maria Grazia Chiuri and Pier Paolo Piccioli, so ascetic and spare with their dark clothes and modest demeanor, and you can only wonder at the intensity of the clothes they create. So, obviously, did the scribe who penned their show notes, as lost in the search for words to define the collection as everyone else was after the fact. That's because Chiuri and Piccioli are like the solitary writer who spins a magic kingdom out of his imagination. “Regal beauty, ” Piccioli said by way of explanation. “Sensual but severe. ” And if that had a Game of Thrones (Game of Thrones) tang, well, that fitted with a Couture collection that felt like a world we were allowed to enter without fully understanding what it was we were seeing. The mood board in their studio was dense with nineteenth century altered states: the symbolists, the decadents, a romantic spirit that combined ecstatic release and exhausted lassitude. Valentino is a house that traditionally reads red, but Chiuri and Piccioli dialed down to blue, introspection and reflection versus the extrovert essence of house habit. It made for a quietly spectacular opening in crepes chiffons, and cashmeres with a lush sobriety. That same idea of modest luxury carried over into a full-length lace and chiffon floral dress, and a coat that was encrusted with cashmere appliqués of flowers and leaves in a pattern that was inspired by William Morris' Tree of Life. It was so ludicrously vivid that you could imagine the old boy himself would have felt one step closer to God when he looked at it. 1.2 Extended Reading 扩展阅读 Valentino

华伦天奴的Chiuri 和Piccioli 就像是完全特立独行的作家，用他们自己的想象力编织出一个独特的魔幻王国。“大气磅礴的王者之美”，Piccioli 解释道，“情欲却又严肃”。如果说整场秀就像电视剧《权力的游戏》中的场景那样充满奇幻之感，那么，我们并不必要完全理解所见到的一切，却仍能走进这场高级定制秀营造出来的奇幻世界。绉绸、雪纺、奢华而又低调的开司米，开场是如此寂静的壮观。一条拖地蕾丝雪纺印花长裙和一件上面缀着开司米花朵和树叶的外套延续了开场那低调而奢华的风格。那件外套上由花朵和树叶组成的图案，灵感源自William Morris的画作《生命之树》（Tree of Life）。以他们运用锦缎的手法为例，虽然创意稍显陈旧，但是黄色的运用却转移了人们的注意力。当然，还有他们对于蓝色的运用，和品牌以前非常看重的那些颜色完全相对，虽然在整个秀场的最后，还是出现了几件红色的高级定制服装（但那也只是给整个秀场带来了一丝春意罢了）。在今天Valentino 巴黎高级定制秀场上，最让人难忘的就是那件海军蓝褶皱晚礼服。礼服交叉线的右身使用了黑色的面料，就好像是倾泻而下的影子一般。（见图1-3、图1-4）华伦天奴

讨论图中服饰装扮（见图1-5），并尽量使用课文中的专业词汇。讨论图中服饰装扮（见图1-5），并尽量使用课文中的专业词汇。提示：讨论可从以下几个方面进行： (1) 整体风格（Style）特点； (2) 服装的款式（Silhouette）、色彩（Colour）、面料（Fabric）、装饰（Decoration）等特点； (3) 服饰与鞋（Shoes）、帽（Hat）、发式（Hair style）、化妆（Cosmetic）等的搭配特点。 1.3 Class Interaction 课内互动 Overall Modelling 整体造型

Design Principles Design is the organization of design elements, using design principles, to create products that are considered aesthetically pleasing to the observer. Professionals who work with the design elements and principles in a creative, original way are referred to as designers; those who adapt the ideas of others are sometimes called stylists. The design process for any product—beit automobiles or apparel, furniture or kitchen appliances—relies on an understanding of design elements and principles. The design process revolves around determining how to combine the design elements we have just reviewed into a pleasing whole. Those decisions are guided by an understanding of design principles. Design principles include proportion, balance, emphasis or focal point, rhythm, and harmony or unity. Proportion Proportion is the relationship of all of the garment's or ensemble's parts to each other and to the body as a whole. Horizontal lines such as yoke and waistline seams or jacket and top edges divide a garment or ensemble into sections. The ancient Greeks judged proportions by the rule of the golden mean. They believed that ratios of 2:3, 3:5, and 5:8 were the most pleasing to the eye. Most garment proportions commonly worn today follow this standing, but examples of equal proportions also exist. Unit 2 Principles of Fashion Design第二单元设计原理及原则

Balance Balance is defined as a sense of stability or equilibrium. It is determined by dividing a silhouette vertically down the middle. A symmetrical garment appears to be the same on both sides. A symmetrically balanced garment can be easily changed with accessories and can be readily mixed and matched with other symmetrical garments in the wardrobe. An asymmetrical garment is different on each side. Asymmetry may be achieved by an offcenter closing or a pocket detail on only one side of the garment. Asymmetrical garments must be carefully thought during the patternmaking and cutting process. Garments designed to be worn with them must be similarly balanced or neutral with no visible center point. Emphasis or Focal Point A garment's emphasis or focal point is the first place on the garment to which the eye is drawn. It may be created through a convergence of lines, a combination of colours, or details. If several elements of the design are competing for the viewer's attention, the garment may be overdesigned.

Rhythm From the focal point, the eye should move naturally through the entire garment. Rhythm is the organized movement of the eye through the related elements of a garment. Rhythm can show strong silhoutte lines, achieved by using colour, line, and shape, or by repetition, radiation, and gradation. Harmony or Unity Successful placement of a focal point that suggests rhythm is the key to achieve harmony or unity in a design. Harmony means that all of the design elements work together in a garment to produce a pleasing aesthetic appearance and to give a feeling of unity to the design(figure2-1,figure2-2).

Spring 2013 RTW Four cities, in as many weeks, and more shows than you can shake an iPhone at; next spring is yet to happen, but in fashion terms, it's pretty much all over bar the wearing. At this moment—the end, or as good as—of the run of the collections, the mind turns to ideas of getting away from it all, to the notion of sun, sea and sand, to rest and recuperation, to…. Oh, you get the idea; anywhere but being back at the office, basically. So what's this, reminding us of the joys of vacations, and simultaneously torturing us all with the idea that in reality the next holiday is only going to involve a turkey and Black Friday, but the set of the Moncler Gamme Rouge show, a boardwalk–and–diving board idyll with a shimmering tiled sea on the runway and hunky lifeguards limbering up like they're the Italian Olympic gymnastic hopefuls of 2012. Or perhaps that should be 1968, because as the first model appeared, it was clear we were back in some mythic Positano, circa the sixties: She wore a white sports mesh body decorated with ruffle-like flowers, and a matching bathing cap. The look was very Monica Vitti in Modesty Blaise(figure2-3,figure2-4). 2.2 Extended Reading 扩展阅读

Gamme Rouge is under the creative direction of Italian designer Giambattista Valli, and Valli realizes that when you are a brand essentially making some of the very best down jackets in the world, there is a challenge as to what to do when it comes to the warmer times of the year. His sensible solution is to put the label's technical skills to work creating techno fabrics that he can whip up into his modernized sixties alta moda shapes. (And the other option, as happened here, is to use this vacation theme to showcase the house's white and silver luggage.) There were zippered coats and dresses that finished above the knee, perhaps decorated with yet more flowers, shimmering with iridescence, or rendered in gleaming opticwhite lace, with Valli molding the silhouette so that whatever rigor and control existed at the front then relaxed into a cocoon shape at the back. As the show progressed, he wove in colour and print into body-conscious or sporty silhouettes, using pretty watery blue sequins for a nipwaisted scuba jacket and a pair of matching shorts (his take on the increasingly omnipresent idea of embellishment-plus-shorts for evening) and an exotic bloom print that turned up blown over in grand scale over an easy airy parka, or taken down to a smaller size and used for a featherlight-looking down jacket, which could be worn as a chic evening cover-up when the temperature starts to drop as the days go by. After all, it doesn't stay hot forever.

2.3 Class Interaction 课内互动

The Paris couture is considered as the highest level of fashion. Sometimes, the couture is criticized for existing in a world that is more fantasy than reality, but it gives birth to many directional fashion ideas in the no-rules environment . On the runway, designers show clothes that explore the limits of creativity and fantasy. The garments they sell to order are made by the best technicians, for clients who can afford prices that start at $20,000 for a suit and climb to $30,000 for an elaborate evening gown. According to Sidney Toledano, president of Dior, there are about 300 core customers for couture, with most coming from the United States and the Middle East. Characterized by luxurious fabrics, complex silhouettes, meticulous tailoring, exquisite beading and unique details, couture garments are truly works of art. Designers focus on artistic and creative expression, along with a quest for publicity, rather than practicality, function or profit motives. That being said, the publicity garnered by couture collections gives cachet to the ready to- wear, accessories, and fragrances of the same house. These products reflect inspiration from the couture in terms of silhouette, materials and techniques. The house of Chanel, Dior and Jean Paul Gaultier are among those that show couture lines.( figure3-1) Unit 3 Types of Clothing Design第三单元服装设计的类别 Fashion Levels

The next level of fashion is designer ready-to-wear. More profit-oriented, designer readyto- wear styles may be produced in quantities that vary from 100 garments to several thousand. Although not as expensive as couture garments, they are beautifully designed, impeccably made, and use the finest fabrics. Designer ready-to-wear labels include Armani, Gucci, Prada, Chanel, Donna Karan and others. Trend forecasters look to designer ready-to-wear to identify the right shade of the next hot colour, the newest detail or accessory, and the “of-the-moment” hemline. Most of us make our fashion selections from mass-market, moderate and better price points in mass retailers, chain stores and department stores interpret fashion trends, taking into account the lifestyle and budget of their average target consumer. Garments designed for labels such as the Gap, Jones New York, George ME, and Tony Hawk prioritize value, practicality, and function, as well as aesthetics, for mainstream consumers in order to maximize sales and profits. Thanks to the real-time availability of news from the designer runways, important trends trickle down to these lines rapidly. Popular styles at this level of fashion may be produced in quantities of up to one million.

Street fashions originate with the consumer rather than a designer or product developer. Free spirits and innovative youth, who bristle at the cookie-cutter approach to fashion in traditional channels, express their creativity by putting together unique looks of their own. They scour flea markets, vintages stores, army surplus stores, and other eclectic but inexpensive sources for looks that define who they are and how they think. Some of the biggest trends in recent years— cargo pants, frayed jeans, and urban bohemians.(figure3-2)

Charles Frederick Worth, the designer who dominated Parisian fashion in the latter half of the nineteenth century, was born in Bourne, Lincolnshire, England, on October 13th, 1825. As a young man, Worth worked as an apprentice and clerk for two London textile merchants. In addition to gaining a thorough knowledge of fabrics and the business of supplying dressmakers during this time, he also visited the National Gallery and other collections to study historic portraits. Elements of the sitters' dresses in these paintings would later provide inspiration for Worth's own designs, for both fashionable ensembles and masquerade costumes. 3.2 Extended Reading 扩展阅读 Charles Frederick Worth

Worth's rise as a designer coincided with the establishment of the Second Empire in France. The restoration of a royal house in 1852, with Napoleon III (1808—1873) as the new emperor, once again made Paris an imperial capital and the setting for numerous state occasions. Napoleon III implemented a grand vision for both Paris and France, initiating changes and modernization that revitalized the French economy and made Paris into a showpiece of Europe. The demand for luxury goods, including textiles and fashionable dress, reached levels that had not been seen since before the French Revolution (1789—1799). When Napoleon III married Empress Eugenie (1826—1920), her tastes set the style at court. The empress's patronage ensured Worth's success as a popular dressmaker from the 1860s onward. Worth's designs are notable for his use of lavish fabrics and trimmings, his incorporation of elements of historic dress, and his attention to fit. While the designer still created one-of -a- kind pieces for his most important clients, he is especially known for preparing a variety of designs that were shown on live models at the House of Worth. Clients made their selections and had garments tailor-made in Worth's workshop. Although Worth was not the first or only designer to organize his business in this way, his aggressive self-promotion earned him the titles “father of haute couture” and “the first couturier.” By the 1870s, Worth's name frequently appeared in ordinary fashion magazines, spreading his fame to women beyond courtly circles.

The large number of surviving Worth garments in the permanent collection of The Costume Institute, as well as in other institutions in the United States, is testament to Worth's immense popularity among wealthy American patrons, as well as European royalty and aristocrats. Many clients traveled to Paris to purchase entire wardrobes from the House of Worth. For the wealthy woman, a complete wardrobe would consist of morning, afternoon, and evening dresses), and lavish “undress” items such as tea gowns and nightgowns, which were worn only in the privacy of one's home. Women also looked to Worth to supply gowns for special occasions, including weddings and ornate masquerade balls, a favorite entertainment in both the United States and Europe. Worth's clients also included stars of the theater and concert stage. He supplied performance costumes and personal wardrobes for leading actresses and singers such as Sarah Bernhardt, Lillie Langtry, Nellie Melba, and Jenny Lind.

With his talent for design and promotion, Charles Frederick Worth built his design house into a huge business during the last quarter of the nineteenth century. His sons, Gaston- Lucien (1853—1924) and Jean-Philippe (1856—1926), took over their father's business following his death in 1895 and succeeded in maintaining his high standards. Jean-Philippe's designs in particular follow his father's aesthetic, with his use of dramatic fabrics and lavish trimmings. The house flourished during the sons' tenure and into the 1920s. The great fashion dynasty finally came to an end in 1952 when Charles Frederick Worth's great-grandson, Jean- Charles (1881—1962), retired from the family business. (figure3-3,figure3-4)

A fashion stylist helps to coordinate all of the parts of a fashion shoot or fashion showcase on the catwalk. In this capacity, a fashion stylist handles the interaction of the clothing with jewelry and other accessories, to make sure the look is as it should be. In a personal capacity, a fashion stylist may be hired to help a person pick out exactly the right look for them, and to help them find the right wardrobe and accessories. This sort of fashion stylist may often be referred to as a personal shopper, although their scope is somewhat more limited.(figure4-1) Most people choosing to pursue a career as a fashion stylist have an education in fashion design, as this gives them a strong foundation and understanding of the industry to work within. In some cases, however, a fashion stylist may be self-taught, or may have apprenticed with a fashion designer or another fashion stylist. Some stylists also come from a different design background, helping to hone them although not to directly teach them how it pertains to fashion styling. Unit 4 Designer & Stylist第四单元设计师与造型师 Fashion Stylist

The primary job of a fashion stylist is to make a person look and feel beautiful, and in the case of professional fashion styling, to make the clothing itself shine. Stylists do this through an understanding of up-to-the-minute trends in fashion, as well as the intricacies of design, colour theory, and lighting. They must use a number of different fields in their work, to make sure that an outfit and accessories looks as good as it possibly can give the situation at hand. In a highstress environment like a catwalk, this can be an intense job, and on a daily basis working with celebrities or the wealthy it can be a challenge to design wardrobes that innovate, excite, and can hold up to everyday wear and tear.

With the outward appearance of those in the public eye being such a key to keeping in the media's good graces, most high-profile movie stars, business people, and politicians employ a fashion stylist to help them in special events, or even in their everyday fashion design. When a movie star walks down the red carpet, or when a foreign dignitary meets a head of state, it is very likely that a fashion stylist has helped them put together every part of their wardrobe, from the drape of the dress or hang of the suit, to the watches or earrings they wear as accessories. A good fashion stylist is a treasured commodity, as the best will take anyone and make them shine, choosing clothing and accessories that highlight the best features of the individual, and working with makeup and hair stylists to ensure they look at their best anytime they are in public. In the world of high fashion, the fashion stylist also plays a key role. During photo shoots, or when a model walks down the catwalk, the clothing needs to look alluring and perfect, highlighting the trends of the season while differentiating itself from everything around. A good fashion stylist makes the best use of the model to showcase the clothing, and the best stylists are highly prized by designers, with many designers taking a part in the styling process as well

There is no doubt that the task of the fashion designer begins with creating the basic design. Fashion design initially begins in several ways. Some designers create storyboards with sketches of new ideas. Others prefer to work with a sewing dummy and begin to use various pieces of cloth to come up with a new design. During this phase of the creative process, the fashion designer is translating the vision that he or she has seen in the mind's eye, and giving it some sort of outward expression. Often, the initial design is refined as the designer comes up with the first basic prototype. Taking the sketches or the rough model of the new design and providing a more detailed working pattern is the next step for the fashion designer. This is achieved by making what is usually known as a toile. The toile is simply a rough model of the design, sewn from some basic material, such as calico. In the United States, the toile is often referred to as a muslin, perhaps because muslin fabric often is an inexpensive type of cloth to use in the creation of the rough model. Muslins are ideal for placing on a dress stand to make sure the design allows for properly draping and hanging on the human form. 4.2 Extended Reading 扩展阅读 Fashion Designer

Once the toile is considered to be perfect, the fashion designer will oversee the creation of a card pattern. This is simply all the sections of the garment made from cardboard, and assembled to ensure the pieces fit together properly. Once the designer approves the card pattern, the final task of the design process takes place, which is the creation of the finished garment Here, the fashion designer will make final selections in the choices of material, buttons, zippers, and all other elements of the garment. All the materials, including colour selections, are provided to a competent dressmaker, along with the card pattern. Upon completion of the garment, the fashion designer will either approve the garment for showing in a collection, or choose to modify or abandon the design. The fashion designer will also be heavily involved in the arrangements for a fashion showing, often selecting the models, arranging the presentation of the garments in the collection, and determining the final price for each garment. While most designers utilize assistants to handle many small details, the fashion designer usually retains full control of the process, from the initial vision to the first public presentation of the garment

What is woman? Wife, mother, daughter, temptress? Idealized on the one hand and denounced on the other, she's had another role, that of man's property. If the owner of this creature wishes to establish that he can afford his wife or daughter who has no obligation to do menial work, he will take pride in seeing her dressed in such a way that his affluence is obvious; clothes that make it hard to move show that the wearer is rich enough not to have to do very much. On a pedestal, the idealized woman could be celebrated, immobilized, and kept helpless. Corsets have probably done their part in immobilizing women longer than any other article of underwear; the wearing of tight stays has recurred over the ages and was common throughout most of the sixteenth, seventeenth, eighteenth, and nineteenth centuries. Tightly laced corsets affirmed the fact that courtesans were as tightly corseted as any other woman; it was thought that ungirded women might be wanton or “loose”. The chastity belt carried the idea to an extreme. The charming medieval invention worn by women to prevent sexual intercourse, it was intended by the Crusaders to guarantee their wives' faithfulness. It was found that one in the collection of the Carnavalet Museum in Paris, and Harper's Bazaar offered one to its readers in 1995, “complete with key,” as a gift idea. Just joking, of course. Unit 5 History of Costume第五单元服饰历史 Corsets

Aesthetically and in the abstract, antique corsets have a certain charm: rows of tiny handstitched seams, hand-stitched embroideries, rims of frothy lace. One marvels at the workmanship. No matter how pretty, however, their mission was to compress the waistline to its tiniest dimensions, and to this end they were of whalebone but they could also be metal or reed. The first elastic inserts to ease the pain appeared aroud 1885. At the end of the nineteenth century some corsets had “bumpers” to support the bustle and some had tabs to hold garters, which in bridal corsets might have sterling silver hardware. The nineteenth century was an extraordinary time in the history of underwear, when girls as young as four were laced into corsets on the theory that it was good for their posture, and no self-respecting woman, rich or poor, would venture out in public without her stays in place. Usually the corset was worn over a chemise that reached to the knees; at the end of the century, corset covers were added. By then women had become as upholstered as the love seats in their drawing rooms. It was not unusual for them to be wearing as many as thirteen undergarments weighing as much as ten pounds. No wonder they were tired at the end of a day. (figure5-1)

With the French Revolution all fashion died, along with much of the aristocracy. Then with the end of the Reign of Terror, for a little more than a decade women enjoyed unprecedented freedom as they adopted a version of classical dress: sheer fabrics, a simpler silhouette with the skirt falling from directly under the bust, and very little underwear. Soon enough, the waistline began once more to move down toward its normal position, skirts became fuller to make the waist appear smaller, and the corset returned. By the 1840s the bottom half of the female figure had become a miniature dome or oversize lamp shade. What began modestly with a stiffened petticoat, by midcentury had grown to such exaggerated proportions and required so many petticoats that the crinoline or hoopskirt was born. Described in an 1856 patent as a “skeletal petticoats made of steel springs fastened to tapes,” it must have seemed liberating compared to the weight of myriad stiffened petticoats. The crinoline's great width gave a woman an impression of unapproachability, but it was also seductive, with a graceful, swaying motion when she walked, giving tantalizing glimpses of ankles. But it was a cumbersome device and an irresistible target for cartoonists and humorists. When the wearer was seated, it rose in front, and when she leaned forward, it rose back, and in a high wind it invited indecent exposure. Neither ridicule nor impracticality diminished the crinoline's popularity, however, one English firm made four thousand daily, another produced nine million in twelve years. It took a shift in fashion to do it in. 5.2 Extended Reading 扩展阅读 Petticoats

From the sixteenth through the early nineteenth centuries, women were naked under their chemises. Finally, in the mid-1830s, women for the first time began wearing pantaloons or “drawers,” so called one drew on first one leg, then the other. Though any form of bifurcated women's apparel was forward on as being masculine, drawers began to be advocated for reasons of health as well as propriety. An English doctor in 1852 recommended them for promotion from “our piercing easterly winds.” He also said “…they need not descend much below the knees. Thus … being worn without the knowledge of the general observer, they will be robbed of the prejudice usually attached to an appendage deemed masculine.” After 1865, the shapes of hoops altered as skirt fullness again began to migrate to the back of the figure, until by the end of the decade the front was flat and the crinoline had disappeared entirely, to be replaced by the bustle. This invention, which was accompanied by extreme tight lacing, went through various remarkable permutations before it disappeared for good in the 1880s, leaving only corsets and petticoats behind(figure5-2).

随着法国大革命的到来，时装 几近灭亡，多数贵族同样走向衰落，在恐怖政策统治下，妇女有那么十几年的穿衣自由。不久，腰线回归，裙衬加多，紧身胸衣复辟了。出现了“克里诺林裙”等比例夸张的裙撑，让女性看来摇曳多姿又难以靠近。同时这也使得她们的行动和生活多有不便。尽管如此，硕大裙撑的受欢迎程度依然不减。从16 世纪到19 世纪早期，妇女裙下都不穿内裤，到了19 世纪 30 年代，她们开始穿马裤或衬裤，衬裤穿法奇特。后来穿底裤的方式得到提倡。19 世纪70 年代，克里诺林裙销声匿迹，巴斯尔裙取而代之，但80 年代末期也消失了，只留下了紧身胸衣和衬裙。（见图5-2）衬裙

The Burberry fashion powerhouse is known for its check-pattern design and the founder Thomas Burberry's trench coat. But there is more to the history. The fashion brand Burberry is known for its iconic trench coat, squared pattern and natural colour selection. Coming out of Britain, the fashion powerhouse has extended its manufacturing past the trench coat and now offers a large collection of fragrances and fashion accessories, such as scarves, shoes and belts. While the famous trench coat that many associate with the Burberry brand was created by Burberry's original founder Thomas Burberry, the iconic pattern that tends to define the Burberry look came much later.(figure6-1) Unit 6 Fashion Brands第六单元服装品牌 The History of Burberry

The Beginnings of Burberry Thomas Burberry is the original founder of Burberry. He started the famous brand in 1856 after completing years as a draper's apprentice. He started Burberry by opening a store in Hampshire, England, that focused primarily on outerwear. Although a success, Thomas changed the way he created the outerwear jackets in 1880 by introducing gabardine to the clothing, which is a water-resistant and breathable fabric.

The Growth of Burberry The popularity of Thomas' designs grew and soon the name changed from Burberry to Burberrys, because of the many stores he managed to open in London, England and surrounding area. It was the popularity of his functional outerwear that landed Thomas in a deal with the War Office to create the trench coat to suit contemporary warfare. The trench coat became a popular fashion item after the war and the iconic check design was created in the 1920s as a primary lining of these coats. Modern Burberry In 1955, Burberr y went from an independent company to becoming a part of the Great Universal Stores (GUS). However, by 2002, the London Stock E x c h a n g e b e c a m e t h e platform for Burberry Group plc's floating and in 2005, GUS divested any interest in the company. The modern Burberry brand is operated in CEO Angela Ahrendts, who took the position after long-time employed Rose Marie Bravo retired from the CEO position.

The Burberry Collection The current Burberry selection is divided into several sections and accessories. These sections are indeed sub-brands of the Burberry family, including Burberry London, Burberry Brit, Burberry Prorsum, Burberry Sport and Thomas Burberry. The Burberry London is the primary brand of all the sub-brands. In addition, the current line of Burberry fragrances continues to grow over time, adding fragrances under each of the sub-brands. Popular fragrances include Burberry Brit, Burberry London, Burberry Sport, Burberry The Beat and Burberry Brit Sheer Eau de Toilette. The Burberry brand is known for its classic and elegance. Its history shows a professional company with a trustful brand and a functional design. In addition, the Burberry brand is one of the less dramatic and chaotic fashion houses when comparing it to other powerhouses, such as Chanel and Gucci.

Christian Dior was born in France on January 21st, 1905, and was a man known for his ingeniousness. Coming from a family which dealt with producing chemical substances as well as fertilizers, he streamed right in the opposite route but quite successfully making a name for himself in the fashion fraternity which conferred him a lot of accolades in support of his inventive approach of dealing with clothing. He was a master of his trade leaving no loose ends to complain about. While his approach was different from the usual, it was this distinctiveness that gave him an impetus to make his concepts viable worldwide. He had brought with his designs a revolution in women's clothes once again making Paris as a centre of the fashion industry. 6.2 Extended Reading 扩展阅读 Christian Dior Company History

Christian Dior was an influential style designer and the creator of the Dior Empire. He attended the École des Sciences Politiques to comply with his parent's wishes. Despite the fact that his family wished that he would turn out to be a diplomat, much to their surprise their child was more fascinated in art rather than being a diplomat. To make money he used to sell his fashion drawings at ten cents each. He opened a tiny art gallery in 1928 from the money he received from his father. But due to the family's financial disaster he was required to close up his gallery and worked alongside Robert Piguet who shortly joined the fashion house where he and Pierre Balmain were the key designers. In 1945 he went into business for himself, backed by Marcel Boussac, the cotton-fabric magnate. He opened his own fashion house in 1946 and presented his opening collection by the name “Corolle” which popularly acquired the name New Look. Celebrated for the sensual appearance given to his attires, he was a master in creating shapes and silhouettes. He died on October 23rd, 1957.

After his first design, that had already ensured his position in the global forum of fashion, his consequential creations also made a huge effect on the ramp. The H-line in 1954 and the A-line in 1955 became as fashionable as the original one and people began to look up to him as a person of inspiration. The business expanded not only in terms of stores but in addition ventured into different forums. Upon his death his company was managed by his granddaughter who made the company achieve new heights. Some of the awards won by the company include: Neiman Marcus award, Dallas in 1947 Remise de la legion d'honneur a Christian Dior in 1950 Parsons School of Design Distinguished Achievement award, New York in 1956 Fashion Industry Foundation award, to the House of Dior, New York in 1990. The brand that originally excelled in apparels extended its shores to ready-to-wear, leather goods, footwear, watches, and perfumes, make up, ties as well as other accessories. The brand also comprises of Baby Dior products. The Dior tradition of dealing with beautiful fabric led to the formation of worldwide merchandising labels used for gloves, furs, along with jewellery. Dior flagship shops are found in Paris, London, Milan, Tokyo, Shanghai, Hong Kong, New York, Boston, Los Angeles, Honolulu, Las Vegas, and San Francisco, Seoul, Madrid, Miami, Barcelona, New Delhi, and Shanghai.(figure6-2,figure6-3)

Alongside Coco Chanel and Christian Dior, Saint Laurent was considered a member of the French fashion world's holy trinity. Yves Saint Laurent was deemed by many to be the last of the great 20th century French designers and the founder of modern fashion for women. It was a role he was predicted to fill since he took over as haute couture designer at Dior at the age of 21. Throughout his time at Dior and much more under his own label, Saint Laurent coined styles for women that changed the way they dressed in the postwar era and his influence can still be seen today, arguably so more than Chanel's and Dior's. For fellow designer Christian Lacroix, the reason for Saint Laurent's success was his versatility. “Chanel, Schiaparelli, Balenciaga and Dior all did extraordinary things. But they worked within a particular style,” he said. “Yves Saint Laurent is like a combination of all of them. He's got the form of Chanel with the opulence of Dior and the wit of Schiaparelli.” Unit 7 Masters of Fashion Design第七单元服装设计师 Yves Saint Laurent, Legendary Designer and Pied Piper of Fashion

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