Varsha Karadia , Fashion Design Student NSQF Level -6
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The document, authored by Varsha Karadia, details the history of fashion from ancient Egypt through various cultural influences up to the 20th century. It explores the evolution of clothing, fabrics, and styles, showcasing their social implications and the impact of significant historical events on fashion. Key figures such as Paul Poiret and Coco Chanel are highlighted for their contributions to modern fashion design.
Varsha Karadia , Fashion Design Student NSQF Level -6
- 1. FASHION HISTORY Varsha Karadia 2nd Year Diploma In Fashion Design Conforming To NSQF Level 6 Of NSDC Dezyne E’cole College , Ajmer
- 2. A Project On FASHION HISTORY Submitted To Dezyne E’cole College, Civil Line, www.dezyneecole.com By Varsha Karadia 2nd Year Diploma In Fashion Design Conforming to NSQF Level 6 of NSDC
- 3. Dezyne E’cole College 106/10 Civil Lines Ajmer-305001, Raj Tel. 0145-2624679 www.dezyneecole.com This project report of Ms. Varsha Karadia student of 2nd Year Fashion Design Diploma, NSQF Level 6 of NSDC, has been checked and has been graded as ______________________________________________________________ ____________________________________ Thanking you, Principal (seal & signature)
- 4. I am Varsha Karadia, student of Fashion Design department of Dezyne E’cole College. I would like to thank to all the mentors who had helped me to complete this project. I also thank Dezyne E’cole College for giving me this opportunity to make this project and helped me to understand the working of fashion designing Acknowledgement
- 6. ANCIENT WORLD The clothing used in the ancient world strongly reflects the technologies that these peoples mastered. Archaeology plays a significant role in documenting this aspect of ancient life, for fabric fibers, and leathers sometimes are well-preserved through time. In many cultures the clothing worn was indicative of the social status achieved by various members of their society.
- 7. ANCIENT HISTORY • EGYPT • MINION CULTRE • CLASSICAL GREECE • ROMANS • BYZANTINE STYLE
- 8. EGYPT
- 9. CLOTHING ANCIENT EGYPT Men’s wear • Loin cloth • Schenti Women’s wear • Kalasiris • Tunic • Bead Dress Main Fabric - Linen
- 10. CLOTHING ANCIENT EGYPT Main Fabric - Linen All clothes were almost always made of linen which is made from flax. Growing flax was a job for men only. The fibres were twisted into strong thread. The weaving was done on a loom. White linen had to be washed a couple of times. The linen was also define the class of the people. The finer and translucent linen was only worn by the royalties and the corse linen worn by the common people.
- 11. CLOTHING ANCIENT EGYPT Men’s wear Loin cloth A triangular piece of cloth worn by commoners, nobilities and royalties. Slaves were only allowed to wear it after the formation of new kingdom. Schenti A skirt which is pleated in front worn by nobilities and royalties. The schenti was use to tie at the waist and wrap around the thigh Till knee level Till thigh level in the old kingdom. 3000 B.C. to 2000 B.C.
- 12. CLOTHING ANCIENT EGYPT Women’s wear Tunic A rectangular piece of cloth with a hole in the centre for the neck worn by pharaohs after conquering Ceria. Bead Dress Bead dress was worn by the dancers of Egypt. This dress is made from cylindrical beads in green, blue, red, turquois etc. colour. And fringes are attached at the hem. Kalasiris Worn by women. Sheath or a tube dress with straps. 2 or one strap going over the shoulder. Mid-calf or ankle length. Starched and pleated.
- 13. ACCESSORIES & MAKE UP ANCIENT EGYPT Accessories • Aegis – Disc shape Necklace • Headgear • Footwear • Postiche - wooden beard • Gold jewellery Make Up • Kohl eyes • Heena as nail paint Aegis Kohl eyes Postiche
- 14. MINONIAN CULTURE
- 15. CLOTHING & ACCESSORIES MINONIAN CULTURE • Long dresses • Decollate neckline • Loin cloth • Headgear
- 16. CLOTHING & ACCESSORIES MINONIAN CULTURE • Early in the culture, the loincloth was used by both sexes.. • Dresses were long and low-necked, like those of the 19th century. They were so low that the bodice was open almost all the way to the waist. • All men wore a loincloth as a short skirt or apron, ending in a point sticking out similar to a tail.
- 17. CLASSICAL GREECE
- 18. CLASSICAL GREECE Main Garments Chiton Himation Peplos Chlamys Main Fabric – Linen & Wool CLOTHING
- 19. CLASSICAL GREECE • Chiton – One or two rectangular piece fabric, knotted at the shoulder and A belt was also worn with the chiton. • Himation - It represented a form of outdoor wear. • Peplos - The peplos consisted of a tubular shaped cloth—this was folded from the inside out • Chlamys - The chlamys was used as a cloak and was pinned at the right shoulder. Main garments CLOTHING
- 20. ACCESSORIES AND HAIRSTYLES CLASSICAL GREECE • Bracelets, earrings and necklaces. • Make up—pale or light skin • Long hair
- 21. ACCESSORIES AND HAIRSTYLES CLASSICAL GREECE • Greece loved to wear all sorts of jewellery with their flowing garments—bracelets, earrings and necklaces. • Ancient Greek women also used make up—pale or light skin was considered a status symbol for women • Long hair was typical for Greek women; only slave women would wear their hair short
- 22. ROMAN
- 23. CLOTHING & ACCESSORIES ROMAN • The Toga • The Warfare Dress Code Armour
- 24. CLOTHING & ACCESSORIES ROMAN • Toga - The most significant item in the ancient Roman wardrobe was the toga, a one-piece woollen garment that draped loosely around the shoulders and down the body. Togas could be wrapped in different ways. • The warfare dress code and the armour • Various armour were:- Scale armour, Lamellar armour, Mail armour, Plate armour, Mail and plate armour, Leather and fabric armour, Brigandine armour
- 25. BYZENTINE STYLE
- 28. Medieval trade and romance- 600- 1449 • Age of migrations- 600- 1100 • Courtly love and crusades- 1100- 1200 • Priests and the people- 1100- 1450 • The east in the west- 800- 1450
- 29. CLOTHING Age Of Migrations 600 - 1100
- 30. CLOTHING Age Of Migrations 600 - 1100 Western empire collapsed people started migrating to new areas needed warmth , water rippling clothes in cold climate so wool was main cloth. Men and women wore loose tunic based on rectangles sewn together in different styles and tie with belts they were draped.
- 31. CLOTHING Courtly Love And Crusades- 1100 - 1200 • Clothing became more fitted, • Accessories • pointed Pauline shoes • long hair • trailing hems
- 32. CLOTHING Courtly Love And Crusades- 1100 - 1200 • Fashion became increasingly flamboyant in the 12th century. A time of crusades, romance and chivalry. Fashion cultivated in south spread north from Mediterranean shores • Clothing became more fitted, seductively showing body’s shape for first time figure hugging silk gowns, revealed embroidered chemises beneath the laced sides. Garments were still based on rectangular and triangular fabric cuts but with lacing to crush straight shapes against the curved figure. • Ordinary women wore fitted tunic more closely over waist, arms and hips. Accessories were long , pointed Pauline shoes and long hair with trailing hems.
- 33. CLOTHING Priests And The People- 1100 -1450 • simple clothes • Garment as aprons to carry tools • tippet sleeve • pleated leather purse. • buttons on dress, • frayed hems • brimmed hats.
- 34. CLOTHING Priests And The People- 1100 -1450 • Priest and the people : ordinary people wore simple clothes which allowed them to do their work. Their clothes were shorter plain and Corse often home produced fabric. • Garment were made such as aprons to carry tools. Church people used best quality clothes with finest embroidery and weaving to dress Bishop • We see the use of tippet sleeve , pleated leather purse from belt. Use of buttons on dress, frayed hems ( dagging) liripipe wide brimmed hats.
- 35. CLOTHING The East In The West- 800- 1450 • .Expensive textiles came from china along the ancient Silk Road.
- 36. CLOTHING The East In The West- 800- 1450 • In medieval times the Mediterranean basin was the most advanced center 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
- 37. CLOTHING SOCIAL STATEMENT 1200 - 1300 • Voluminous garments • Surcoat • Beginning of tailoring
- 38. CLOTHING SOCIAL STATEMENT 1200 - 1300 In 13th century clothes became voluminous and the shape of the garments were changed of both men and women. Tunic sleeves had tight lower arms, but more fabrics around the armhole, and the Surcoat (sleeveless overtunic) became a wardrobe stable. The biggest development of the 14th century was the move from flat, draped garments belted for shape to the cutting of curved pieces with more complex court. To fit the body- the beginning of tailoring.
- 39. HEAD COVERINGS Medieval trade and romance • Hats • Veils • Head Coverings
- 40. HEAD COVERINGS Medieval trade and romance Hats, Veils, and Head Coverings 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. The style can still bee seen today on some Muslim women and on a few Catholic nuns, though not as ornate as the stylish wimples of the Late Middle Ages. Although a wimple was a garment used for modesty, women in the upper classes decorated their wimples and added padded rolls of fabric to create interest.
- 44. CLOTHING RENAISSANCE SPLENDAR •Fitted garments •Art of tailoring •Detachable sleeves, •Sleeveless jerkins • Breeches •Wide shoulders, •Codpieces Codpieces Wide shoulders
- 45. CLOTHING RENAISSANCE SPLENDAR • 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.
- 46. RENAISSANCE SPLENDAR 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.
- 47. RENAISSANCE SPLENDAR 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 center, swept over the temples, curled crimped arranged over pads to keep shape, frizzled, bewigged, piled into high peaks or hidden.
- 48. RENAISSANCE SPLENDAR FEMALE GEOMETRY 1590-1625 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.
- 49. BAROQUE & ROCOCO
- 50. CLOTHING BAROQUE & ROCOCO • Buckles and straps evolved during this time. • The farthingale petticoat vanished • Softer silhouette. • Mantua
- 51. CLOTHING BAROQUE & ROCOCO Buckles and straps evolved during this time. The farthingale petticoat vanished and people move towards softer silhouette. Mantua was a garment that was open from a front and gradually the shape changed with the use of hooped petticoat and underskirt of canvas or linen with rings made of whale bone or cane
- 53. NEO CLASSICISUM 1790 - 1800 FROM REVOLUTION TO FRIVOLITY • It bought more informal dress influenced by revolutionary women in France. Wrapping gowns in striped silk and painted Chintzes. • Indian calicos and muslin were popular for neckerchief. • High waisted simple dress, laced corsets were worn over top of the dresses.
- 54. 1800 – 1809 FROM REVOLUTION TO FRIVOLITY • In France empire line become fashionable from 1790. • Waist line were high and skirts had short trains. • Corded corset were separated from the bust and control the waist and hip. • Accessories such as parasol and embroidered shawl from India become popular.
- 55. 1820 - 1830 FROM REVOLUTION TO FRIVOLITY • Pipin in the dresses appeared. • Spenser jackets and beautiful hats appear during this time period. • Wide puff sleeve emphasize narrow waist. • Low décolletage neckline emphasized the bottle shaped neck off shoulder dresses appeared.
- 56. 1830 – 1851 FROM REVOLUTION TO FRIVOLITY • Industrial revolution sets in – Eli Whitney invented the cotton ginning machine In 1793. • In 1804 we had the jacquard loom after the name of Joseph Jacquard. • In 1851 Issac singer brought the sewing machine and the principle of assembly line developed which led to the mass production. • Roller printing technique came during this time.
- 57. 1856 - 1859 FROM REVOLUTION TO FRIVOLITY • Crinolines appeared, large frames were abandoned after 1867. • Skirt trailed were gathered internally with ties forming a soft bustle.
- 58. 1870 - 1879 FROM REVOLUTION TO FRIVOLITY • Soft bustle and fishtails. • Neckline were square with exposed decollate for evening. • Dress had there quarter sleeves with lace cuffs and wore sleeveless for evening. • Pannier were used • In 1876 princess line came in.
- 59. 1886 - 1888 FROM REVOLUTION TO FRIVOLITY • Fishtail trains were rejected. • Extremely tight steel and boned corsets came in the year 1883 – 1887 which looked like a chicken tail.
- 60. LA BELLA EPOQUE & JAZZ AGE
- 61. CLOTHING LA BELLA EPOQUE & JAZZ AGE • less is more. • Suits for city gentlemen. • The flapper look
- 62. CLOTHING LA BELLA EPOQUE & JAZZ AGE This time period focused on simplification of the dress. The idea was “less is more”. The old way of dressing was abandon. A corset known as swan bill was introduced in 1903. Suits for city gentlemen. The flapper look become famous.
- 63. LA BELLA EPOQUE & JAZZ AGE • PAUL POIRET • COCO CHANEL DESIGNERS
- 64. PAUL POIRET LA BELLA EPOQUE & JAZZ AGE 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 the early twentieth century. In the 1910s, he was known in America as the king of fashion, with his achievements as a couturier, made Paul Poiret a central figure in the artistic and creative development of Paris. His list of accomplishments was spectacular, led by his championing of a revival of the neoclassical style of 1790s France high waisted flowing clothes that followed the fluid, natural lines of the body.
- 65. PAUL POIRET LA BELLA EPOQUE & JAZZ AGE
- 66. GABRIELLE CHANEL (1883–1971) LA BELLA EPOQUE & JAZZ AGE 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 in the post World-War I era. In the early 1920s, she was the arch exponent of the Garonne or flapper look, the boyish style that dominated the decade. Her women wore sweaters, short pleated skirts with dropped waistlines and cloche hats. Boni de Castellane, a Parisian dandy, said: ‘Women no longer exist. All that’s left are the boys created by Chanel.’ The little black dress, a reaction to Paul Poiret’s orientalist colours and derived from the chemise dress, was a signature piece.
- 67. COCO CHANEL LA BELLA EPOQUE & JAZZ AGE
- 69. CLOTHING FROM GLAMOUR TO UTILITY • DESIGNER - Elsa Schiaparelli • During this time very simple • dress code entered. • Because this was the time of great depression. • The main feature that we see here is the dress becoming longer at the hemline to the floor length and roaring twenties came to a hawlt.
- 70. CLOTHING FROM GLAMOUR TO UTILITY • During this time very simple dress code entered. Because this was the time of great depression. • The main feature that we see here is the dress becoming longer at the hemline to the floor length and roaring twenties came to a hawlt.
- 71. FROM GLAMOUR TO UTILITY • ELSA SCHIPARELLI DESIGNERS
- 72. ELSA SCHIAPARELLI (1890–1973) FROM GLAMOUR TO UTILITY Elsa Schiaparelli, an Italian designer who came to fashion late and proved a breath of fresh air in a world often caught up in its own high seriousness. She was a surrealist by instinct with a playful ability to change the predictable into the unpredictable.
- 73. ELSA SCHIPARELLI FROM GLAMOUR TO UTILITY
- 74. OPTIMISM & YOUTH
- 75. CLOTHING OPTIMISM & YOUTH The new word was come during this time (the teenager they wanted clothes just for themselves his was the Elvis wore leather flight jacket and military surplus.
- 76. OPTIMISM & YOUTH • CHRISTIAN DIOR • CRISTOBAL BALENCIAGA DESIGNERS
- 77. CHRISTIAN DIOR OPTIMISM & YOUTH From 1937, Dior was employed by the fashion designer Robert Piguet, who gave him the opportunity to design for three Piguet collections. Dior would later say that 'Robert Piguet taught me the virtues of simplicity through which true elegance must come. One of his original designs for Piguet, a day dress with a short, full skirt called "Cafe Anglais", was particularly well received. Whilst at Piguet, Dior worked alongside Pierre Balmain, and was succeeded as house designer by Marc Bohan – who would, in 1960, become head of design for Christian Dior Paris.
- 78. CHRISTIAN DIOR OPTIMISM & YOUTH 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.
- 79. CHRISTOBAL BALENCIAGA FROM GLAMOUR TO UTILITY From 1937, Dior was employed by the fashion designer Robert Piguet, who gave him the opportunity to design for three Piguet collections. Dior would later say that 'Robert Piguet taught me the virtues of simplicity through which true elegance must come. One of his original designs for Piguet, a day dress with a short, full skirt called "Cafe Anglais", was particularly well received. Whilst at Piguet, Dior worked alongside Pierre Balmain, and was succeeded as house designer by Marc Bohan – who would, in 1960, become head of design for Christian Dior Paris.
- 80. CHRISTOBAL BALENCIAGA OPTIMISM & YOUTH Designer from Spain . His creations had broad shoulders, and he removed waist.
- 81. SWINGING SIXTIES
- 83. CLOTHING 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 colourful 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.
- 84. MOD LOOK SWINGING SIXTIES Mod style first emerged in the late 1950s and was popularized throughout the mid 60s. Short for “modernist” style. miniskirts, bold colors and prints are all hallmarks of the style with models like Jean Shrimpton and Twiggy who personified the mod look..
- 85. SWINGING SIXTIES • YVES SAINT LAURENT DESIGNERS
- 88. CLOTHING THE DESIGNER DECADE DESIGNERS • Vivienne Westwood • Jean Paul Gaultrier • Bohochic and Vintage
- 89. 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 unwearable skirts for men. His experiments with sportswear, stretch fabrics and underwear used as outerwear were influencing all levels of the fashion market. THE DESIGNER DECADE JEAN PAUL GAULTIER
- 90. THE DESIGNER DECADE 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.
- 91. THE DESIGNER DECADE 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.
- 92. THANK YOU Varsha Karadia 2nd Year Diploma In Fashion Design Conforming To NSQF Level 6 Of NSDC Dezyne E’cole College , Ajmer