In freeing women from corsets and dissolving the fortified grandeur of the obdurate, hyperbolic silhouette, Poiret effected a concomitant revolution in dressmaking, one that shifted the emphasis away from the skills of tailoring to those based on the skills of draping.
It was a radical departure from the couture traditions of the nineteenth century, which, like menswear to which they were indebted , relied on pattern pieces, or more specifically the precision of pattern making, for their efficacy. Looking to both antique and regional dress types, most notably to the Greek chiton , the Japanese kimono , and the North African and Middle Eastern caftan, Poiret advocated fashions cut along straight lines and constructed of rectangles.
Such an emphasis on flatness and planarity required a complete reversal of the optical effects of fashion.
The cylindrical wardrobe replaced the statuesque, turning, three-dimensional representation into two-dimensional abstraction. It was a strategy that dethroned the primacy and destabilized the paradigm of Western fashion.
It introduced clothing that hung from the shoulders and facilitated a multiplicity of possibilities. Poiret exploited its fullest potential by launching, in quick succession, a series of designs that were startling in their simplicity and originality.
From to , he presented garments that promoted an etiolated, high-waisted Directoire Revival silhouette. Both albums relied on the stenciling technique known as pochoir, resulting in brilliantly saturated areas of color Even when Poiret reopened his fashion business after World War I, during which he served as a military tailor, Orientalism continued to exercise a powerful influence over his creativity.
By this time, however, its fashionability had been overshadowed by modernism. Utility, function, and rationality supplanted luxury, ornament, and sensuality.
Poiret could not reconcile the ideals and aesthetics of modernism with those of his own artistic vision, a fact that contributed not only to his diminished popularity in the s but also, ultimately, to the closure of his business in It is ironic that Poiret rejected modernism, given that his technical and commercial innovations were fundamental to its emergence and development.
Koda, Harold, and Andrew Bolton. Davis, Mary E. Classic Chic: Music, Fashion, and Modernism. Berkeley: University of California Press, Exhibition catalogue. New York: Metropolitan Museum of Art, See on MetPublications. Lepape, Claude, and Thierry Denfert. New York: Vendome Press, Martin, Richard.
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Cubism and Fashion. Milbank, Caroline. Detroit: Thomson, Poiret, Paul. My First Fifty Years.
Essay on Fashion
Translated by Stephen Haden Guest. London: Victor Gollancz, Silver, Kenneth E.
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Princeton: Princeton University Press, Steele, Valerie. Paris Fashion: A Cultural History. New York: Oxford University Press, Troy, Nancy J. Cambridge, Mass. Walters advises applicants to make their portfolio work as clear as possible, and to include research and sketchbook work, as well as photographs of design pieces. When it comes to the written statement, saying you have a "passion for fashion" is an immediate no-no, says Josephine Collins, course leader for fashion journalism at the London College of Fashion.
Similarly, admissions tutors cringe when confronted with yet another tired quote from a fashion icon. Although mentioning your favourite designer is a good idea, you should think carefully about who you cite, says Mal Burkinshaw, programme director of fashion at Edinburgh University.
Every now and then someone says they are interested in a more conceptual designer and it makes them stand out. You can tell they are engaging more deeply. Evidence of engagement with fashion is essential, agree tutors, but make sure you are thinking about it as a serious industry.
Fashion Essay Topics
As well as explaining why you want to study fashion and listing any relevant work experience, it's also important to show interests outside of fashion, say tutors. Outside interests show an engagement with general society that is important for a fashion student, and key to fashion admissions tutors. It's important to be up to date on current news, to prove an academic interest and to show curiosity about the world and an inquisitive mind. If you have an unusual hobby don't be afraid to mention it as it might help yourself get noticed.
Fashion may be portrayed as a cut-throat industry, but people who are interested in giving something back interest Chaisty. Accuracy and a good flow are things all tutors agree on when it comes to a good personal statement, but Barnes says you should also be in tune with the specifics of your course.
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