Tuesday, May 15, 2007
FASHION TRENDS 2007
Earthen Gold Fashion Mood Board
All thumbnails of the storyboards enlarge.
Powdery shades with brownish earthy rust undertones range from golden ochres, a hint of citrus to warmer softer champagne mink tones that lead to chalky powder rusts through to brighter watermelon, rich red, dark mahogany plum hues and back through to regal purple.
Gold metal is the jewellery of choice this season and any gold chain on a designer or high street fashion handbag makes the perfect accessory to help update your look. Fashion metallica is a winner when made with gold tone metal whether real or fake. Note how many items on this moodboard are fur trimmed placing an emphasis on contrasting textures.
Red Rusts Mood Board
The red story board is a big one this winter. The golds move through into earthen rusts and rich tones of red with the depth of sun dried tomatoes. More sombre apparel will benefit from the red hue, a good accent colour choice for any fashion accessory for Autumn 2006 winter 2007. Consider accessories such as red gauntlet gloves to top off a grey or black and white scheme.
Purples Mood Board
The purple palette is a fashion mood board that continues from last autumn. It is as popular a colour as ever and melts into softer dusty pinks and natural tones. These colours are rich and spectacular for day or evening as there are so many tones to layer together. They mix well with soft teal a popular blue tone of the past year.
Grey & Monochrome Fashion Mood Board
Another storyboard full of knit and fabric texture, but in a monochrome color scheme. This scheme is a play on black and white/cream, gradations of grey tones from whisper greys, to beige greys to deepest charcoal and all relying on texture and contrast to uplift this palette. However this safe scheme is very wearable and workable for everyday wear. Classic items in this palette can be the backbone of your basic wardrobe.
All thumbnails of the storyboards enlarge.
Powdery shades with brownish earthy rust undertones range from golden ochres, a hint of citrus to warmer softer champagne mink tones that lead to chalky powder rusts through to brighter watermelon, rich red, dark mahogany plum hues and back through to regal purple.
Gold metal is the jewellery of choice this season and any gold chain on a designer or high street fashion handbag makes the perfect accessory to help update your look. Fashion metallica is a winner when made with gold tone metal whether real or fake. Note how many items on this moodboard are fur trimmed placing an emphasis on contrasting textures.
Red Rusts Mood Board
The red story board is a big one this winter. The golds move through into earthen rusts and rich tones of red with the depth of sun dried tomatoes. More sombre apparel will benefit from the red hue, a good accent colour choice for any fashion accessory for Autumn 2006 winter 2007. Consider accessories such as red gauntlet gloves to top off a grey or black and white scheme.
Purples Mood Board
The purple palette is a fashion mood board that continues from last autumn. It is as popular a colour as ever and melts into softer dusty pinks and natural tones. These colours are rich and spectacular for day or evening as there are so many tones to layer together. They mix well with soft teal a popular blue tone of the past year.
Grey & Monochrome Fashion Mood Board
Another storyboard full of knit and fabric texture, but in a monochrome color scheme. This scheme is a play on black and white/cream, gradations of grey tones from whisper greys, to beige greys to deepest charcoal and all relying on texture and contrast to uplift this palette. However this safe scheme is very wearable and workable for everyday wear. Classic items in this palette can be the backbone of your basic wardrobe.
Monday, May 14, 2007
History....
Main article: History of Western fashion
Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg (left) with her counterpart from Venice, in. The Venetian lady's high chopines make her taller.
The habit of continually changing the style of clothing worn, which is now worldwide, at least among urban populations, is a distinctively Western one. Though there are signs from earlier, it can be fairly clearly dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of fashion in clothing.[2] [3] The most dramatic manifestation was a sudden drastic shortening and tightening of the male over-garment, from calf-length to barely covering the buttocks, sometimes accompanied with stuffing on the chest. This created the distinctive Western male outline of a tailored top worn over leggings or trousers which is still with us today.
The pace of change accelerated considerably in the following century, and womens fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are able to date images with increasing confidence and precision, to a period of about five years for the 15th century. Initially changes in fashion led to a fragmentation of what had previously been very similar styles of dressing across the upper classes of Europe, and the development of distinctive national styles, which remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, finally those from Ancien regime France.[4] Though fashion was always led by the rich, the increasing affluence of Early Modern Europe led to the bourgeoisie and even peasants following trends at a distance sometimes uncomfortably close for the elites - a factor Braudel regards as one of the main motors of changing fashion. [5]
The fashions of the West are unparalleled either in antiquity or in the other great civilizations of the world. Early Western travellers, whether to Persia, Turkey, Japan or China frequently remark on the absence of changes in fashion there, and observers from these other cultures comment on the unseemly pace of Western fashion, which many felt suggested an instability and lack of order in Western culture. The Japanese Shogun's secretary boasted (not completely accurately) to a Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years. [6]
Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats, and at this period national differences were at their most pronounced, as Albrecht Dürer recorded in his actual or composite contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the end of the century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid 17th century, French styles decisively took over leadership, a process completed in the 18th century.[7]
Though colors and patterns of textiles changed from year to year,[8] the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut changed more slowly. Men's fashions largely derived from military models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat or necktie.
English caricature of Tippies of 1796
The pace of change picked up in the 1780s with the increased publication of French engravings that showed the latest Paris styles; though there had been distribution of dressed dolls from France as patterns since the sixteenth century, and Abraham Bosse had produced engravings of fashion from the 1620s. By 1800, all Western Europeans were dressing alike (or thought they were): local variation became first a sign of provincial culture, and then a badge of the conservative peasant [9].
Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry certainly led many trends, the History of fashion design is normally taken to date from 1858, when the English-born Charles Frederick Worth opened the first true haute couture house in Paris. Since then the professional designer has become a progressively more dominant figure, despite the origins of many fashions in street fashion.
Fashion in clothes has allowed wearers to express emotion or solidarity with other people for millennia. Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or likes. When people who have cultural status start to wear new or different clothes a fashion trend may start. People who like or respect them may start to wear clothes of a similar style.
Fashions may vary significantly within a society according to age, social class, generation, occupation and geography as well as over time. If, for example, an older person dresses according to the fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The terms "fashionista" or "fashion victim" refer to someone who slavishly follows the current fashions (implementations of fashion).
One can regard the system of sporting various fashions as a fashion language incorporating various fashion statements using a grammar of fashion. (Compare some of the work of Roland Barthes.)
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