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Wednesday 24 July 2013

Fashionable clothes for women 2013

Fashionable clothes for women 2013 Biogarphy

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t is difficult to define not only the spirit of the century but also its dress. As fashion historian Aileen Ribeiro noted in Dress in Eighteenth-Century Europe, 1715–1789, most think immediately of Paris and the French court when they ponder that time, forgetting reverberations in England (C.I.65.13.1a-c), Italy, and elsewhere worldwide. By the eighteenth century there was already an assumed supremacy in French taste, which has lingered into our own time.
The elegant life of the eighteenth century was lived among mirrors that reflected the immediate, and some would say ephemeral, radiance of fashion.
Certain signposts of eighteenth-century style arise in shapes and silhouettes. Dilated hips, especially as achieved by panniers (1973.65.2; 2001.472), are a point of attention. Likewise, the corseted waist, especially with extreme restriction of mobility as might be indicated by a center-front dip well below the natural waistline, should afford early warning (C.I.39.13.211). Correspondingly, the deep décolletage allowed by such infra-edifice would offer a sign of inner structure and of potential eighteenth-century reference. The drapery-parted opening of the skirt (open robe) to reveal underskirt, petticoat, or a like dress would always be a measure of eighteenth-century theatricality and sensuality (33.54a, b; C.I.61.34a,b). But one should not forget that the period of the 1780s and 1790s would provide a fin-de-siècle Neoclassicism that must also be included as an indicator of the eighteenth century, if only in its final years (1998.222.1). Polonaises and gatherings to flanks would be a sign as sure and as unsure as any other, but positively placed on the screen of attention (1In textiles and surface ornament, there were also preliminary expectations of style that were more or less borne out. Silks might transmogrify (C.I.64.14), but Rococo patterns (1991.6.1a,b) would abide and late-century stripes with pattern retain their allure. Linens, those creamy and tactile luxuries of eighteenth-century textile better known outside the court, might haunt later dressmakers' imaginations. Embroidery, never defunct and itself an art of preserved patterns of ways of working and seeing, could be telling of a proclivity to eighteenth-century origins if and when, in style and placement, it accorded with the paradigms of sumptuous costume in the ancien régime. Through the example of embroidery, we would remember menswear (2003.45a-c; C.I.61.13.2a-c) as well as womenswear and would have to allow for crossover, as one always does in the history of dress. Further, the ancient art of lace and of linens and fichus applied to dress would have to be remembered.
The elegant life of the eighteenth century was lived among mirrors that reflected the immediate, and some would say ephemeral, radiance of fashion. Those mirrors also constitute a metaphorical glass of history, glimpses, icons, and suggestions that persist through reflection and imagination into our own time.
While the French Revolution (1789) cuts the history of costume like a knife, the initial effect on women's clothing is merely a deflating of silhouette. The line and construction of this 1790 walking dress closely resembles that of any other late 18th Century dress. It especially reflects the fad for "country" attire that swept women's fashion during the late Rococo/Georgian period (click here to view styles of dresses from the previous period. Click the "back" button on your browser to return). Nonetheless, never before has fashion changed as radically or as quickly as it did between the years of 1789 and 1800.This is mostly due to the new French Empire led by Napoleon Bonaparte. Due to Napoleon's multitude of military campaigns into Italy many statues and artifacts from Greco-Roman ruins found their way back to France. Historians believe this to be the main fuel for a revival of all things "classical" (meaning Greek & Roman) at the tail-end of the 18th Century. These classical ideas affected everying--literature, governments, and most importantly to us...fashion.The saying goes, "It's all been done before." This is as true of fashion as anything else. For the first time in costume history, the prevailing fashion clearly imitated fashions of the past--a trend that reoccurs frequently through the rest of the history of dress. Women's fashion of the Empire/Directoire period clearly "reinterprets" Greek and Roman dress. However, it is done without a true understanding of how the garments actually functioned.Vase paintings and statuary were studied intently and garments were created in imitation of their findings. However, the resulting dresses were much more complicated in construction than the rectangles and squares of fabric draped around the bodies of the past. (Click here to see examples of Greek dress. Click here to see examples of Roman dress. Click the "back" button on your browser to return).
The fashion plate pictured at the left features morning dresses from 1794--merely four years after the previous plate. The shift towards the "classical" line is obviously in place. There is still quite a bit of poofiness and fussiness (especially in their accessories). View this image as a transition between the styles characteristic of the 18th century and those of the simpler, "Neo-Classical" line.
Initially, lightweight--sometimes relatively sheer--white fabrics prevailed for the new fashion. The once colorful Greco-Roman statues had been bleached white from exposure to the elements. The imitators of the late 18th/early 19th century interpreted this fact to mean that all of the clothing was also white, thus the choice of white for the neo-classical dresses. Eventually, pastel dresses became fashionable as well.
Underpinnings went through a revolution of their own. For the first time since the onset of the Elizabethean Era, the desired female silhouette allowed the body to be of a fairly natural "columnal" shape. The required understructure was minimal. Most corsets served to support and lift the breasts (the zone of emphasis for this period). As a result, most women favored a short corset that stopped just below the underbust, since this is the point that becomes the fashionable waistline. (Some women still wore a long corset. However, these did not cinch the waist as corsets of the previous and following periods did, but instead slimmed the hips into a space slightly bigger than the waist. Thus, a curvy woman could acheive the desired column-like sihouette). Chemises and petticoats were optional. The most fashion forward women dispensed with them altogether

Fashionable clothes for women 2013