By Bonnie English
This new version of a bestselling textbook is designed for college students, students, and an individual attracted to twentieth century style background. Accessibly written and good illustrated, the e-book outlines the social and cultural background of favor thematically, and incorporates a wide selection of world case experiences on key designers, types, activities and occasions. the recent variation has been revised and accelerated: there are new sections on eco-fashion, type and the museum, significant adjustments within the style marketplace within the twenty first century (including the effect of recent media and retailing networks), new applied sciences, type w. Read more...
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Extra resources for A cultural history of fashion in the 20th and 21st centuries : from catwalk to sidewalk
Large department stores such as the Bon Marché were stocking shawls, cloaks and tippets, as well as garment linings and millinery items, and this trend escalated with the introduction of a ready-to-wear department in the 1860s. According to Michael B. 3 Despite this evidence, it is difficult to ascertain the extent to which ready-to-wear was usurping private dressmaking businesses. More recent writers, including Lipovetsky (1994), also argue that the first manufactured dresses made ‘according to standard measures did not appear until after 1870’ and that ‘the manufacturing techniques mainly produced the loose-fitting elements of dress, including lingerie, mantillas and coats; for the rest, women continued to turn to their dressmakers, and went on doing so for a long time’ (Lipovetsky 1994: 83).
Fashion historian Christopher Breward (2003) argues that this elite sector of the fashion market relied on an exclusivity necessary to sustain high prices through a deliberate glorification of the role and identity of the couturier. He concludes that: ‘Fine hand-sewing, bureaucratic control and creative vision, then, underpinned the success of a couture house’ (2003: 50). 1 Arguably, haute couture in fashion was also determined by this heightened taste for luxury; however, more importantly, in economic terms, haute couture became an interface between the silk and brocade manufacturers of Lyons and the world of the aristocracy.
7 However, Saisselin, in his book The Bourgeois and the Bibelot (1984: 36–9), disagrees with this proposition. Explaining a woman’s relationship with the department store, he argues that whether it is in New York, Chicago or Paris, the results are the same. The advantage to the female customer is ‘undeniably in her aesthetic education’, and he underlines that, through the staging of theatrical effects, ‘the aesthetic experience was generalized and democratized’. Elsewhere, Saisselin compares ‘the striking similarities of the structures, spaces and methods of exhibiting objects in museums and department stores’ despite the ‘social, aesthetic and theoretical differences between the objet d’art and the consumer object’ (Saisselin, 1984: 42).