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Essay / Research Paper Abstract
A 14 page paper which examines the development of French fashion couture between the period 1919-1939, concentrating on the influences of Coco Chanel and Elsa Schiaparelli, and specifically addressing five factors that positively impacted upon modern women’s fashions and the worldwide appeal of French Fashion. Bibliography lists 10 sources.
Page Count:
14 pages (~225 words per page)
File: TG15_TGfrfash.rtf
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Unformatted sample text from the term paper:
themselves... [T]heir fantasies would tell me more about future humanity than all the philosophers, the novelists, the preachers, or the scientists" (Presley, 1998, p. 307). Fashion not only represents
everything women are, but encompasses everything they aspire to be. It provides them with an identity both personal and social while at the same time represents a canvas upon
which they can freely express their hopes and dreams. Historically, France has reigned as the fashion capital of the world. However, during the Victorian era, only a select
few aristocratic French women could afford the extravagant haute couture produced by the small enclave of designers featured in the elitist Parisian fashion houses (Roberts, 2003). However, the twentieth
century ushered in new and dramatic global changes that included amazing technological advancements and World War I, once described as the war to end all wars. These changes were
reflected by the French fashion industry, in which a period of international prosperity following the war considerably broadened its consumer base to include what was dubbed as the "nouveau riches,"
writers, artists, and wealthy American celebrities and substantially increased its universal appeal. There were still the old school French fashion designers such as Madeleine Vionnet (1876-1976) who catered primarily
to the Parisian aristocracy (Bourque et al, 1986). However, even Vionnet was forced to recognize that women had to remain innovative in order to remain in the fashion game,
and were expected "to create new styles that correspond to changes in womens roles" (Crane, 1999, p. 61). Vionnets major innovation was a "bias cut" dress that featured sleeves
reminiscent of a Japanese kimono (Ziegert, 1991, p. 5; Bourque et al, 1986). Perhaps this suggested that despite some strides being made, women in most early twentieth-century societies were
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