Dimple Chouhan ,Fashion Design ,Dezyne E'cole College

Dimpal Chanohan
2nd Year Diploma In Fashion Design
(NSQF Level 6 Of NSDC)
FASHION
HISTORY
Dimpal Chouhan
2nd Year Diploma Fashion Design
NSQF Level 6 Of NSDC

Project Report
On
History OF Fashion
At
Dezyne E’cole College
Submitted To
Towards
The Partial Fulfillment Of The
2nd Year Diploma In Fashion Design
Confirming NSQF Level-6 Of NSDC
By
Dimpal Chouhan
2017-18

I Am Dimpal Chouhan Student Of Fashion Department 2nd Year Diploma Fashion Technology Of Dezyne E'cole
College, Would Like To Express My Gratitude To Each And Every Person Who Has Contributed In Stimulating
Suggestions And Encouragement Which Really Help Me To Coordinate My Project.
I Also Thank Dezyne E’cole College Who Provided Insight And Expertise That Greatly Assisted The Project. Also
A Special Thanks To My Teacher, Parents And Colleagues Who Have Blessed Me With Good Health. Because Of
Which I Worked More Efficiently And Better.
Dimpal Chouhan
2nd Year Diploma Fashion Technology
NSQF LEVEL – 6 OF NSDC
ACKNOWLEDGEMENT

Thanks
Principal
[Seal & Signature]
This Project of Ms. Dimpal Chouhan Student of Fashion Technology With Two Years Advance Diploma
Program Has Been Checked And Graded As_____________________________________
____________________________________.

CONTENT
1. Ancient World
• Egypt
• Cloth Worn By Egyptians
• Accessories And Make-up
• Mioan Culture
• Classical Greece
• Four Types Of Clothes
• Different Clothes Used To Wear
• Roman
• Clothes Worn By Romans
• Byzantine Style
2. Medieval Trade And Romance
• Age Of Migration(600-1100)
• Courtly Love And Crusades(1100-
1200)
• Friest And The People(1100-1450)
• The East In The West(800-1450)
• Social Statements(1200-1300)
3. Trailing Elegance
4. Renaissance Splendor
• The Fashion Split(1450-1500)
• From Drape The Shape(1500-1560)
• Elegant Formality(1560-1590)
• Female Geometry(1590-1625)
5. From Revolution To Frivolity
• Neo Classicisms(1790-1800)
• Charles Frederick Worth
• Jeanne Paquin
• 1800-1888
6. La Bella Époque And Jazz Age
• Paul Poiret
• Coco Chanel
• Jean Patou
• Madeleine Vionnet
7. From Glamour To Utility
• Elsa Schia Parelli
• American Ready To Wear
8. Optimism And Youth
• Cristobal Balenciaga
• Christen Dior
• Mainbocher
9. Sewing Textile
• Mod Look
• Yves Saint Laurent
10. The Designer Decade
• Jean Paul
• Vivienne Westwood
• Issey Miyake

THE FASHION TIMELINE
The fashion history where I came across the various time d and how fashion evolved through the time to this age of dressing a project on
timeline of Fashion History and major inspiration of famous designer study was done by me by which I had made a timeline chart with
shows all the time period and the fashion involved there. The chart showcase about the study of fashion in earlier times and the
designers collection which you can see in the chart and the following link.

ANCIENT WORLD
Many shapes and style in dress date back thousand of years having
necessity function and the material available as their starting points.
From such crude beginning wonderful piece of embroidery decoration and
reinforcement at the same time. From the beginning we meet to splendor
beautiful and full of utility garment. The ancient world is a jigsaw of images
and objects that historians and trying to piece together.
Painting sculpture, artifacts and scraps of clothing and jewellery all provide
clues as to how people live and dresses, sophisticated technology influenced
each other as culture met through war exchange.
• EGYPT
• MINOAN CULTURE
• CLASSICAL GREECE
• ROMANS
• BYZANTINE STYLE

EGYPT
For three thousand years almost all clothing worn by the Ancient Egyptians
was of line made from flax grown in the Nile Valley. The fabric suited the hot
climate because it was cool and airy. Clothes were very simple in shape with
minimal cutting of cloth.
Half –nape flax stems made the based thread. The fibers were beaten until
soft. The fibers were twisted into strong thread. The weaving was done on
the loom. White linen had to be washed a couple of times. They washed it in
the river or canal rinsed then it was product on a stone. After that it was
pounded on stone. After that it was bleached in the sun.
The silhouette was influenced by two key factors : the fitness and finish of
the lining either left with a natural crimp laundering or arranged in crisp
pleats and by the weaving of decorative collars and belts. These accessories
were rich in colour and textile. Old Kingdom
Middle KingdomNew Kingdom

THE OTHER CLOTHES WORNED BY EGYPTIANS WEAR:-
•LOIN CLOTH :- A triangular piece of cloth worn by commoners nobilities and royalties. Slaves were only allowed to wear if after the
formation of new kingdom.
•SCHENTI :- A skirt which is pleated in front worn by nobilities and royalties. It was till knee level. Till thigh level in the old kingdom 3000
B.C. to 2000 B.C. it was used to wrapped around the hips which hung to folds in front.
Loin Cloth Schenti

•TUNIC :- A rectangular piece of cloth with a hole in the centre for the neck worn by pharaohs after conquering Ceria.
•KALASIRIS :- Worn by women often by detachable sleeves or with straps going over the shoulders. Till mid calf or ankle length. It can be
both starched or pleated.
Kalasiris Tunic

ACCESSORIES AND MAKE UP
• HEADWEAR:- Although heads were shaven as both as a
sign of nobility and due to the hot climate, hairstyles was
a huge part of Ancient Egyptians fashion through the use
of wigs.
• JEWELLERY:- It was common for Ancient Egyptians to
be covered in jewellery, however the upper classes wealth
allowed them to be more lavish, with jewellery made
from gold and silver among other items. Accessories were
embellished with precious stones such as emeralds pearls
and lapis lazuli.
• FOOTWEAR:- Wore during the new kingdom. Made of
leather or papyrus fibre.
• MAKE-UPS:- Kohl eyeliner made of Galina ore. They
use to prevent from insects, evil eye, inflamation, allergy
and dust. Rouge which was made of ochre. Eye shadow
which was made of malachite which is red and green in
colour. They use Hena for the nail colour and hair.

MINOAN CULTURE
The Loincloth was used for both men and women. The women of Crete wore the garment more as an underskirt than the men, by
lengthening it. Dresses too were long and the low-necked, like those of the 19th century. They were so low that the bodice
was often almost all the way to the waist.
Unlike the Egyptians, the schenti varied according to its cut and normally was arranged as a short skirt or apron ending in a
point sticking out similar to a tail.
A triangular front released the top of the thighs. One could say it was clothing of an athletic population, because of this and the fact
that the chest always was naked. It was sometimes covered with a cask, probably ritualistically. However, long clothing was worn
for protection against bad weather and eventually a coat of wool was used by the Greeks.

CLASSICAL GREECE
Clothing in this period were simple, drape, folded in artistic manner shows elegance and grace. The garments were loose fitted and free
flowing , it was adaptable to other season. The fabrics were mainly linen or wool. Women also wore a new with their clothing
whenever they stepped out of the house.
The Ancient Greek fashion was quite modern in its outlook as far as men were concerned to the extent that male nudity was really not
a big deal in Ancient Greece.

MAINLY THERE WERE FOUR TYPES OF CLOTHES
• HIMATION:- The himation which was made of heavy material for outdoors, or of lighter cloth for a more fashionable effect indoors or
in warmer weather. The himation was loose and flowing, thus, it can be termed as a modern cloak it was also used as a form of
drapery to be worn over the chiton.
•CHITON:- The key garment for both men and women was the chiton, a tunic made of two rectangles of cloth joined at the
shoulders and sides. The chiton could be worn with a himation or without it as well. A belt was worn with the chiton which was
called a zoster. It could be arranged in many ways, and cut to different lengths worn over the chiton was a cloak-like garment

MAINLY THERE WERE FOUR TYPES OF CLOTHES
•PEPLOS:- Peplos was gathered in at the waist and partially fastened at the top of the shoulder, allowing free corners to
drape. It consisted of a tubular shaped cloth this was folded from the inside out. There were certai types of patterns that were
used for the peplos. Some of the common patterns included checks, flowers, waves or even stripes.
• CHLAMYS:- Chlamys a cape shaped like the clamshell it was named after, was originally worn by soldiers but, like many functional
garments. It was used as a cloak and was pinned at the right shoulder.

ACCESSORIES AND MAKEUP
•HAIRSTYLES:- Women loved to wear their hair long during this period. In the early days of Greece, men normally wore their
hair short and grew beards. Women curled and braided their hair in early Greece. Later the style was to tie their hair back and put it
up into a bun.
•JEWELLERY:- Jewellery did form a significant part of a ancient Greek fashion. Greece loved to wear all sorts of jewellery with
their following garments- bracelets, earrings and necklaces.
•MAKE-UPS:- Women used honey and olive oil to improve the skin. They often used substances as a substitute for
cosmetics enhancing their looks. Dark powder was dusted over the eyebrows and red powder was used over their lips.

ROMAN
Probably the most significant item in the ancient Roman was the Toga, a one-piece woolen garments that draped loosely around
the shoulders and down the body and they could be wrapped in different ways. Colours of toga and its border was determined by
the wearer’s rank. Basically a semicircle the toga was woven on an upright loom, beginning with long straight edge.

BYZANTINE STYLE
A fusion of Greek roman middle east and oriented styles indicate social status through clothing. The veils and silks worn by women,
and the T-shaped tunics and cloaks worn by men, were developed from Roman official dress. Poor working people wore plain woolen
tunics, knee-length for men, with leggings, boots and a long cloak on top.
• COSTUME:- There were the flowing embroidered gowns, tunic. The dresses were embellished with jewel pearls.
• FABRICS:- Imported silk, linen, wool.
• COLOURS:- Ancient people was dyes and pigment to dye their clothes skin or jewellery.

THE OTHER CLOTHES WORNED BY ROMANS WERE
•ARMOUR:- The warfare dress coat scale, lamellar, mail and plate, leather fabric and brigandine armours.
• STOLA:- An outermost which was a long pleated dress similar to the Greek chiton.
•PRIEST:- They wore Toga which was completely draped around the body.
•TOGA:- A one-piece woolen garment that draped loosely around the shoulder and down the body, wrapped in different ways.

MEDIEVAL ROMANCE AND TRADE
Men and women wore loose tunics based on rectangles sewn together in different styles and caught with belts. They used to wear
mantles draped over tunics with statues enhancing the lining, though leather and furs were also worn, especially in the colder
northern regions of Europe. Silk was extremely expensive item throughout the Medieval period .
• Age of migrations- 600- 1100
• Courtly love and crusades- 1100- 1200
• Priests and the people- 1100- 1450
• The east in the west- 800- 1450

AGE OF MIGRATION (600-1100)
•After western roman empire collapsed, people started migrating. To new areas, people needed warm, water, repelling clothes in
the cold climate, so wool was the main cloth used. Men and women wore loose tunics, based on rectangular sewn together in
different style and caught into belt. Mantles were draped over tunics and had status enhancing for leaving. Linen shirts were worn as
undergarments beneath tunics.
•ACCESSORIES:- Gold and enamel had symmetrical CELTIC patterns or the stylized animals favored by Anglo-Saxons. Women ’s
fine embroidery, applied to hangings, capes and clothing imports such as silk, as well as furs, kermes and fine wools.

COURTLY LOVE AND CRUSADES(1100--1200)
Fashion became increasingly flamboyant in the 12 century a time of crusaders, romances and chivalry. Fashion cultivated in
south spread north from Mediterranean shores. Clothing become fitted more seductively, showing body ’s shape to first time.
Figure hugging silk gowns revealed embroidered chemises beneath the laced sides. Garments were still based on rectangular
and triangular fabrics cut, but with lacing to crush straight shapes against the curved figure. Ordinary women wore fitted
tunics , more closely over waist arms and hips
•FOOTWEARS:- Medieval leather shoe were much greater numbers than fragile textiles. Piercing or incising with
decorative patterns was popular and showed off coloured hose underneath. The long Poulaines toe was stuffed with
whalebone, wool, or moss to keep the shape. Noblemen’s shoes were embroidered with silks..
• th

PRIEST AND THE PEOPLE (1100-1450)
1100-1450
•Ordinary people wore simple clothes which allowed them to do their work . Their clothes were shorter and plainer and coarser.
Often have produced fabrics . Garments were made such as aprons to carry tools. Church people used best quality clothes with
finished embroidery and wearing to dress cardinals and bishops. Wide brimmed hat, tippet sleeves, pleated leather purse from
belt, use of buttoned tunics, frayed hems.

THE EAST IN THE WEST (800-1450)
•In medieval times the Mediterranean basin was the most advanced centre in the world Of learning, Technology and trade. Expensive
textiles came from china along the ancient Silk Road, the great trade route running through Central Asia.

SOCIAL STATEMENTS (1200-1300)
Clothing become voluminous in the 13th century and men ’s and women ’s garments followed the same changes in shape.
Tunic sleeves had tight lower arms, but more fabrics around the armhole, and the Surcoat (sleeveless overtunic) became a
wardrobe stable. Neckline became lower, trailing hemlines, pouline shoes. Tight sleeves, hoods, belts, veils , gloves were more
worn, houppelande trails on ground. The silhouette was long with high waist.

•Women's gowns became high waisted with a low cut V neck that showed a piece of contrasting fabric underneath. The V neck
would be folded back to reveal an attractive lining. Long fitted sleeves developed cuffs in what was called Burundian fashion.
The houppelande of 1380 was a beautiful, full length robe like garment featuring a high collar and wide sleeves Later, the full
sleeves tightened at the wrist. The houppelande fell in folds into a bell shape.
•ACCESSORIES:-The wimple, a style brought back from the Middle East during the Crusades caught on. A wimple is a piece of
cloth worn over the head and around the face and neck. A wimple would be worn under a veil called a couverchef. Men wore
many types of hats and head gear. The sugar loaf hat was a tallish conical hat that resembled an inverted flower pot

RENAISSANCE SPLENDOUR
This was the period when fashion finally moved from draped clothing to
fitted garments and the art of tailoring came into its own. Clothing now
consisted of a greater number of parts including detachable sleeves,
under and overskirts, sleeveless jerkins and breeches of different
lengths. The masculine form was enhanced by the latest clothing, with
its wide shoulders, codpieces strong legs and bellies.
The fashion split there were marked regional difference in women ’s
dress. The medieval standards one piece tunic moved towards broad
spectrum of fashion in cut and construction. Hanging sleeves French
gowns sleeves, ruffs were used on the sleeves and on neck.

THE FASHION SPLIT (1450-1500)
•There were marked regional differences in women ’s dress. The medieval standard one-piece tunic moved towards a broad
spectrum of fashions in cut and construction. Hanging sleeves. French gowns kept the wide, hanging sleeves, ruffs were used
on the sleeves and on necks too.
•Headdresses often emphasized a woman’s high, smooth forehead. Many women bleached their hair to a fashionable blonde.
Cylindrical hats of different lengths were stylish in France, England and low countries.

FROM DRAPE TO SHAPE (1500-1560)
• Soft draped lines began to disappear as the century went on the. Women ’s dress has two main parts bodice and skirt and sleeves
were often separate too. Full skirts widened with gathered and pleated waistlines. Outer skirts were opened up in front to
reveal a petticoat or forepart underneath. The Spanish farthingales created a bell shaped and defined the century ’s silhouette. Bodice
became smooth and fitted by adding stiff materials inside.

ELEGANT FORMALITY (1560-1590)
• As the century progressed so the gradual stiffening of women ’s dress continued. Linear bands and braids followed the
clothing ’s sharp lines and emphasized its control of body shape. Necklines were either at bust level or up to the chin. The silhouette
stayed triangular with narrow waists ending in sharp points and full skirts. The top of the sleeves of women ’s dresses started to be
styled into puffs, tabs, and rolls.
• HAIRSTYLES:- Renaissance love of finery, women ’s hair during the 16th century was parted in the centre, swept over the temples,
curled crimped arranged over pads to keep shape, frizzled, bewigged, piled into high peaks or hidden.

• Fashion history’s most geometric period created unnatural silhouettes made from straight lines, triangles and circles.
Huge ruffs isolated head from head from body, or open collars revealed décolletages cut immodestly low.
FEMALE GEOMETRY (1590-1625)

This was a century of unprecedented and accelerated change The world's population grew dramatically and infant mortality
was reduced by a quarter due to improved healthcare and hygiene. The average adult lifespan increased by a decade, and a
burgeoning middle class acquired property and possessions, patronized department stores, and indulged in sporting activities. Day
trippers to national exhibitions and the seaside saw fashionable society men and women at leisure and aspired to their
lifestyle and fashions Philanthropic reforms, including educational provision assisted the working classes in seeking to
better themselves by working their way factories, shops, "in service".
FROM REVOLUTION TO FRIVOLITY

NEO CLASSICISUM (1790-1800)
•Fashion of 18th century reflected a time of upheaval. It brought more informal dress influenced by revolutionary fervor in
France. Wrapping gowns inscribed silk and painted chints gave way to printed cottons and plain cotton chemise dress could
be washed..

CHARLES FREDERICK WORTH
Charles Fredrick Worth, an Englishman from the quiet county of Lincolnshire, was the first couturier of modern times. Worth also
set the tone for the couturier as dictator, rapidly acquiring much of the arrogance of French court he served, with prices to match.
“Those ladies are wisest who leave the choices to us”.
Charles Fredrick Worth created the modern couture system that remained dominant until the rise of ready-to-wear in the 1960s.
Among his many innovations were the sale of toiles and patterns and the use of models. More importantly, he took dressmaking on to
a higher place through fit and construction a tradition that was carried on by worth’s sons after his dress

JEANNE PAQUIN
Jeanne Paquin was the queen of haute couture for nearly thirty years. She was the first major female couturier running one of
the biggest couture houses of early twentieth century, employing 2,700 employees at the height. Her rise to fame was rapid and
based on applying her own pared-down personal style to her business. That style was founded on knits and flannels materials
generally considered only appropriate for sports clothing. By 1915, she had opened her own fashion house. It included her first full
collection to immediate and widespread.

1800-1809
• In France the empire became fashionable from 1790s
inspired from the classical Greek and roman statue.
Waistline were high and skirts have short trails.
1820-1830
• Piping of the dress. Splendor jackets and beautiful hats
appear during this time. Wide puffed sleeve emphasize the
narrow waist low deco vet age neckline emphasized the
bottle shaped neck. Off shoulder dresses were
appeared. .

1830-1851
• Eli Whitney invented the cotton ginning machine in 1793 which was patented by 1807. 1804 we had jacquard loom after the
name of Joseph Jacquard. Isaac Singer in 1851 brought the sewing machine and the principle of assembly line developed
which led to the mass production of classes.

1856-1859
• Crinolines appeared, large frames were abandoned after 1867, skirts trailed and were gathered internally with ties forming a
soft bustles. Then crinolettes and bustles pads took over.

1870-1879
• Soft bustles and fishtails. Bodice necklines were square with exposed décolleté for evening. Dresses had three quarter
sleeve with lace cuffs and wore sleeveless for evening wear.

1886-1888
• And extremely tight steel boned corsets came in the year 1883-18887 which look like a chicken tail. 1890-1899 during this time
India was ceded to Britain by the trite of Paris in 1898.

LA BELLA EPOQUE AND JAZZ AGE
This time period focused on simplification of the dress. The idea was “less is more”.
After the war the popularity of elaborate hair pieces and dresses were reduced to a replace by energetic boyish look “The Flapper ” .
Always on the move- either dancing or racing around in the automobile the new style which represent the youth fashion and fun.

PAUL POIRET
Paul Poiret was born on 20 April 1879 to a cloth merchant in the poor neighborhood of Les Hells, Paris. Poiret ’s route into couture
followed the common practice of shopping around one ’s drawings in original fashion designs. In freeing women from corsets and
dissolving the fortified grandeur of the obdurate, hyperbolic silhouette, Poiret effected a concomitant revolution in dressmaking.

JEAN PATOU
Madeleine Vionnet liberated women from the corset inspired by the celebrated dancer laadora Duncan, whom she never met bur
admired afar. Vionnet was an important force in the history of fashion, but there was much else beside. Her achievements
overshadow her personality. Although her skillful and original tailoring. Should not be overlooked, It was her talent with the
draping of cloth for dresses that put her in a league of her own.

COCO CHANEL
Gabrielle Bonheur “coco ” Chanel was a French fashion designer and a businesswoman. She was the founder and
namesake of the Chanel brand. Along with Paul Poiret, Chanel was credited inn the post World-War I era with liberating woman
from the constraints of “corseted silhouette” and popularizing a sporty, casual chic as the feminine standard of style. A prolific
fashion creator, Chanel extended her influence beyond couture clothing.

MADELEINE VIONNET
Madeleine Vionnet liberated women from the corset inspired by the celebrated dancer laadora Duncan, whom she never met bur
admired afar. Vionnet was an important force in the history of fashion, but there was much else beside. Her achievements
overshadow her personality. Although her skillful and original tailoring. Should not be overlooked, It was her talent with the
draping of cloth for dresses that put her in a league of her own.

FROM GLAMOUR TO UTILITY
This time period 1929-1946 use to have the designer Elsa Schiaparelli entering and during this time very simple dress coats entered
because this was the time of great depression. The main feature that we see here is the dresses became longer at the hemlines to the
floor length. And the roaring twenties came to a hawlt.

ELSA SCHIAPARELLI
Elsa Schiaparelli was an Italian fashion designer. Along with Coco Chanel her greatest rival, she is regarded as one of the most
prominent figures in fashion between the two World Wars. Starting with knitwear Schiaparelli ’s designs were heavily
influenced by surrealists like her collaborators.

OPTIMISUM AND YOUTH
The new word was came during this time (the teenager they wanted clothes just for themselves his was the Elvis wore leather flight
jacket and military surplus.

CRISTOBAL BALENCIAGA
Designer from Spain. His creations had broad shoulders, and he removed waist..

CHRISTIAN DIOR
Circular skirts, Wasp shaped skirt Christian Dior introduced in 1954 Autumn Winter Collection(classic look) the pencil skirt after
seeing the hobble skirt after seeing the hobble skirt of Paul Poiret.

MAINBOCHER
The long title of American courtier Mainbocher spanned a remarkable period in the history of fashion, from the frothy collection
of the belle époque to the ready-to-wear explosion of the 1960s and 1970s. Late in his career, when he was in his seventies.
Mainbocher showed he could still lead the way with a series pared-down dresses, including a bias-cut white crepe dinner dress.
He was proud to be descended from French Huguenot's pioneers who arrived in America in the 1640s.

SWINGING SIXTIES
Clothing styles have always mirrored the prevailing attitudes of the time and this is certainly true of fashion in the 1960s. The
decade was marked by sweeping social; change and the domination of youth culture- baby boomers were growing up and
demanded their own fashion style. Designers responded with much more liberal, daring approach to fashion, boasting colorful
fabrics and bold designs. Clothing broke with social traditions that dictated what could be worn when and by whom. In the past attire
had been divided n to ‘formal ’ and ‘casual ’ wear, and distinct separations were made between the styles of clothing worn by men
and women.

MOD LOOK
Mod, short for ‘modern ; refers to a youth lifestyle that emerged from London during the 1960s, and quickly spread to America,
Europe, Australia. Centered around London ’s thriving pop music, art and fashion scene, the mod lifestyle focused on innovation
and the ‘new ’ Mod fashion was slim fitting and featured bold geometric shapes. Colour was also a key concern- the conservative
greys, browns and pastels of the 1950s were replaced by bright wild hues.

YVES SAINT LAURENT
Yves Saint Laurent was, in the words of the man closest to him, born with a nervous breakdown. Even so he was also probably
the most influential fashion designer of the second half of the twentieth century, Saint Laurent reinvented Paris fashion for the
young, giving the women of the baby boomer generation a new wardrobe stocked with easy, youthful clothes which, in their
energy, flirtatious assertiveness and borrowings, prefigured the social and political emancipation women were just learning to crave

In the modern age, fashion designers have become celebrities and catwalk shows are major events Late in the 20th century
creativity reached new heights and designers began to use the runway show as theatre, as in Alexander McQueen's Springs
Summer 1999 Collection, where machines spray painted the models" dresses in front of the audience. The London
Designer collections were established in the 1980s, and fashion journalists and buyers travelled to New York, London.
Milan, and Pars every spring and autumn to view the collection for the following season. The power of the brand from Armani to
Burberry became international-designers names sold products. Calvin Klein's fragrances for example sold an aspiration lifestyle,
and his underwear line in the 1990s was so famous that the garment became known simply by the designers name. For the first
time, fashions emerged 20th century the dress of sub-cultural groups from Goths to from the street not the design studio.
Towards the end of the surfers became increasingly mainstream. The freehand authentic feel to street style seized the
imagination of designers, and the styles themselves became more complex as designers adapted and reworked them.
THE DESIGNER DECADE

JEAN PAUL GAULTIER
The long lasting image of Jean Paul Gaultier as a perpetual enfant terrible of French fashion took many years to lay to rest. But
now the great iconoclast of Modern French Fashion has become part of establishment he once shunned. His clothes made all
the headlines but were considered unbearable skirts for men. His experiments with sportswear, stretch fabrics and
underwear used as outerwear were influencing all levels of the fashion market.

VIVIENNE WESTWOOD
In terms of creativity and the ability to place fashion at the heart of a vital popular culture, Vivienne Westwood may be the
greatest designer of the twentieth century. Her method is not so very different from that of many designers, particularly other British
designers trained in an art-school tradition. Clothing has always reconstructed and modified the structure of the body and it still does
today. What seems to surprise and upset people is reconstructions that don ’t accord with what they consider to be the norm, the
present accepted idea of beauty. If you design a dress with a sellier, the padding that gives it a rounded form has become a
subversive act.

ISSEY MIYAKE
In the introduction to the first book on the work of Issey Miyake, East Meets West , published in 1978, Diana Vreeland, then retired
from US Vogue and heading the Costume Institute at the Metropolitan Museum of Art in New York, wrote, ‘His clothes are totally his
and his alone. Miyake’s vision is unique. He was the precursor, leader and mentor of a new school of Japanese design, which
took the fashion world by storm in the early 1980s. He was not the first Japanese designer to find fame in the West, but he
was the first to create something new and revolutionary. He drew deeply on both oriental and occidental traditions of dress to
produce the hybrid style that was to change everyone’s perceptions of what clothing could be.

Thank You
Dimpal Chouhan
2nd Year Diploma In Fashion Design NSQF Level -6 of NSDC
Dezyne E’cole College, www.dezyneecole.com

Dimple Chouhan ,Fashion Design ,Dezyne E'cole College

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