Chic is a French word, established in English since at least the 1870s. Early references in English dictionaries classified it as slang and New Zealand-born lexicographer Eric Partridge noted, with reference to its colloquial meaning, that it was "not so used in Fr[ench]." There is a similar word in German, schick, with a meaning similar to chic, which may be the origin of the word in French; another theory links chic to the word chicane. Although the French pronunciation (shēk or "sheek") is now virtually standard and was that given by Fowler, chic was often rendered in the anglicised form of "chick".
Riviera chic—Monte Carlo.
In a fictional vignette for Punch (c. 1932) Mrs F. A. Kilpatrick attributed to a young woman who 70 years later would have been called a "chavette" the following assertion: "It 'asn't go no buttons neither ... That's the latest ideer. If you want to be chick you just 'ang on to it, it seems".
By contrast, in Anita Loos' novel, Gentlemen Prefer Blondes (1925), the diarist Lorelei Lee recorded that "the French use the word 'sheik' for everything, while we only seem to use if for gentlemen when they seem to resemble Rudolf Valentino" (a pun derived from the latter's being the star of the 1921 silent film, The Sheik).
The Oxford Dictionary gives the comparative and superlative forms of chic as chicer and chicest. These are wholly English words: the French equivalents would be plus chic and le/la plus chic. Super-chic is sometimes used: "super-chic Incline bucket in mouth-blown, moulded glass".
An adverb chicly has also appeared: "Pamela Gross ... turned up chicly dressed down".
The use of the French très chic (very chic) by an English speaker – "Luckily it's très chic to be neurotic in New York" – is usually rather pretentious, but sometimes merely facetious—Micky Dolenz of The Monkees described ironically the Indian-style suit he wore at the Monterey Pop Festival in 1967 as "très chic". Über-chic is roughly the mock-German equivalent: "Like his clubs, it's super-modern, über-chic, yet still comfortable".
The opposite of "chic" is unchic: "the then uncrowded, unchic little port of St Tropez".
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Jumat, 23 Desember 2011
Rabu, 21 Desember 2011
History of Boho Style
In modern usage, the term "Bohemian" is applied to people who live unconventional, usually artistic, lives. The adherents of the "Bloomsbury Group", which formed around the Stephen sisters, Vanessa Bell and Virginia Woolf in the early 20th century, are among the best-known examples. The original "Bohemians" were travelers or refugees from central Europe (hence, the French bohémien, for "gypsy").
Reflecting on the fashion style of "boho-chic" in the early years of the 21st century, the Sunday Times thought it ironic that "fashionable girls wore ruffly floral skirts in the hope of looking bohemian, nomadic, spirited and non-bourgeois", whereas "gypsy girls themselves ... are sexy and delightful precisely because they do not give a hoot for fashion". By contrast, in the late 19th century and first half of the 20th, aspects of Bohemian fashion reflected the lifestyle itself.
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Reflecting on the fashion style of "boho-chic" in the early years of the 21st century, the Sunday Times thought it ironic that "fashionable girls wore ruffly floral skirts in the hope of looking bohemian, nomadic, spirited and non-bourgeois", whereas "gypsy girls themselves ... are sexy and delightful precisely because they do not give a hoot for fashion". By contrast, in the late 19th century and first half of the 20th, aspects of Bohemian fashion reflected the lifestyle itself.
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Runway (fashion)
Runway or catwalk describes a narrow, usually flat platform that runs into an auditorium, used by models to demonstrate clothing and accessories during a fashion show In fashion jargon, "what's on the catwalk" or similar phrasing can refer to whatever is new and popular in fashion.
Exclusive
When a model scores an exclusive for a fashion label it means that she has been picked Model MVP to walk for that particular designer only. This immediately launches her career and elevates her status in the fashion industry, guaranteeing them spots on the world's best catwalks.
Landing a Prada catwalk exclusive is widely considered to be the "holy grail" of runway bookings, turning an unknown face into one to watch in an instant (ex. Irina Kulikova, Sasha Pivovarova and Lindsey Wixson). Followed by Balenciaga's brilliant casting rivaling Prada's.
Documentary
Catwalk, a documentary covering life on the fashion runways, was filmed in 1993 by director Robert Leacock and premiered in 1996. The film followed models Christy Turlington, Naomi Campbell, Yasmin Le Bon, Kate Moss, and Carla Bruni as they jetted around London, Milan,Paris, and New York during Spring Fashion Week, including behind-the-scenes footage. The film was shot in black and white and color, and featured many top designers at work, like a young John Galliano, Justin Thomas, Karl Lagerfeld, and Gianni Versace four years before his death.
Exclusive
When a model scores an exclusive for a fashion label it means that she has been picked Model MVP to walk for that particular designer only. This immediately launches her career and elevates her status in the fashion industry, guaranteeing them spots on the world's best catwalks.
Landing a Prada catwalk exclusive is widely considered to be the "holy grail" of runway bookings, turning an unknown face into one to watch in an instant (ex. Irina Kulikova, Sasha Pivovarova and Lindsey Wixson). Followed by Balenciaga's brilliant casting rivaling Prada's.
Documentary
Catwalk, a documentary covering life on the fashion runways, was filmed in 1993 by director Robert Leacock and premiered in 1996. The film followed models Christy Turlington, Naomi Campbell, Yasmin Le Bon, Kate Moss, and Carla Bruni as they jetted around London, Milan,Paris, and New York during Spring Fashion Week, including behind-the-scenes footage. The film was shot in black and white and color, and featured many top designers at work, like a young John Galliano, Justin Thomas, Karl Lagerfeld, and Gianni Versace four years before his death.
Clothing Fashions
Early Western travelers, whether to Persia, Turkey 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.[2] However in Ming China, for example, there is considerable evidence for rapidly changing fashions in Chinese clothing.[3] Changes in costume often took place at times of economic or social change (such as in ancient Rome and the medieval Caliphate), but then a long period without major changes followed. This occurred in Moorish Spain during the 8th century, when the famous musician Ziryab introduced sophisticated clothing-styles based on seasonal and daily timings from his native Baghdad and his own inspiration to Córdoba in Al-Andalus.[4][5] Similar changes in fashion occurred in the Middle East from the 11th century, following the arrival of the Turks, who introduced clothing styles from Central Asia and the Far East.[6]
The beginnings of the habit in Europe of continual and increasingly rapid change in clothing styles can be fairly reliably dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of Western fashion in clothing.[7][8] 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 to look bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers.
Marie Antoinette was a fashion icon.
The pace of change accelerated considerably in the following century, and women and men's fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in dating images with increasing confidence and precision, often within five years in the case of 15th century images. 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. These remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime France.[9] Though the rich usually led fashion, 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.[10]
Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg (left) with her counterpart from Venice. The Venetian lady's high chopines make her taller
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.[11]
Though colors and patterns of textiles changed from year to year,[12] 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.
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 16th 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.[13]
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[by whom?] to date from 1858, when the English-born Charles Frederick Worth opened the first true[weasel words] 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. For women the flapper styles of the 1920s marked the most major alteration in styles for several centuries, with a drastic shortening of skirt lengths, and much looser-fitting clothes; with occasional revivals of long skirts forms of the shorter length have remained dominant ever since. The four major current fashion capitals are acknowledged to be Milan, New York City, Paris, and London. Fashion weeks are held in these cities, where designers exhibit their new clothing collections to audiences, and which are all headquarters to the greatest fashion companies and are renowned for their major influence on global fashion.
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 considerably 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 and fashion victim refer to someone who slavishly follows current fashions.
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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The beginnings of the habit in Europe of continual and increasingly rapid change in clothing styles can be fairly reliably dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of Western fashion in clothing.[7][8] 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 to look bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers.
Marie Antoinette was a fashion icon.
The pace of change accelerated considerably in the following century, and women and men's fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in dating images with increasing confidence and precision, often within five years in the case of 15th century images. 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. These remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime France.[9] Though the rich usually led fashion, 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.[10]
Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg (left) with her counterpart from Venice. The Venetian lady's high chopines make her taller
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.[11]
Though colors and patterns of textiles changed from year to year,[12] 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.
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 16th 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.[13]
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[by whom?] to date from 1858, when the English-born Charles Frederick Worth opened the first true[weasel words] 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. For women the flapper styles of the 1920s marked the most major alteration in styles for several centuries, with a drastic shortening of skirt lengths, and much looser-fitting clothes; with occasional revivals of long skirts forms of the shorter length have remained dominant ever since. The four major current fashion capitals are acknowledged to be Milan, New York City, Paris, and London. Fashion weeks are held in these cities, where designers exhibit their new clothing collections to audiences, and which are all headquarters to the greatest fashion companies and are renowned for their major influence on global fashion.
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 considerably 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 and fashion victim refer to someone who slavishly follows current fashions.
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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La Mode
Fashion, a general term for a popular style or practice, especially in clothing, foot wear, or accessories. Fashion references to anything that is the current trend in look and dress up of a person. The prevailing style in behavior as well. The more technical term, costume, has become so linked in the public eye with the term "fashion" that the more general term "costume" has in popular use mostly been relegated to special senses like fancy dress or masquerade wear, while the term "fashion" means clothing generally, and the study of it. For a broad cross-cultural look at clothing and its place in society, refer to the entries for clothing, costume, and fabrics. The remainder of this article deals with clothing fashions in the Western world.[1]
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Coco Chanel
Gabrielle Bonheur "Coco" Chanel (19 August 1883 – 10 January 1971)[1] was a pioneeringFrench fashion designer whose modernist thought, menswear-inspired fashions, and pursuit of expensive simplicity made her an important figure in 20th-century fashion. She was the founder of one of the most famous fashion brands, Chanel. Her extraordinary influence on fashion was such that she was the only person in the couturier field to be named on Time 100: The Most Important People of the Century.[2]
Early life
Chanel was born to an unwed mother, Jeanne Devolle, a laundrywoman, in a facility for the indigent in Saumur, France. This was Devolle's second daughter. The father, Albert Chanel was an itinerant street peddler who with horse and cart lived a nomadic life, traveling to and from market towns, the family residing in rundown lodgings. He married Jeanne Devolle several years after Chanel was born. At birth Chanel’s name was entered into the offical registry as “Chasnel.” It is speculated that this spelling was a clerical error or an ancient spelling of the family name. [3] The couple eventually had five children: Julia-Berthe, (1882–1913), Antoinette (born 1887) and three brothers, Alphonse (born 1885), Lucien (born 1889) and Augustin (born and died 1891).
In 1895, when she was twelve years old, Chanel’s mother died of tuberculosis. Her father sent her two brothers out as farm laborers and the three daughters to a bleak area of central France, the Corrèze, into the hands of a convent for orphans, Aubazine. [4] It was a stark, frugal life demanding strict discipline and the rigorous indoctrination of the Catholic faith. At age eighteen, Chanel now too old to remain at Aubazine, went to live in a boarding house set aside for Catholic girls in the town of Moulins. [5]
Having learned the sewing arts during her six years at Aubazine, Chanel was able to find employment as a seamstress. When not plying her trade with a needle, she sang in a cabaret frequented by cavalry officers. It was at this time that Gabrielle acquired the name “Coco,” a name possibly derived from a popular song she sang, or an allusion to the French word for kept woman: cocotte.[5] As cafe entertainer, Chanel broadcast a juvenile allure and suggestion of a mysterious androgyny, tantalizing the military habitués of the cabaret.[5]
Later in life, she concocted an elaborate, fabricated history to couch her humble beginnings in a more compelling light. Of the various stories told about Coco Chanel, a great number were of her own invention. These legends were to be the undoing of the earliest of her biographies. These were ghosted memoirs commissioned by Chanel herself, but never published, always aborted before fruition, as she realized that the facts exposed a personage less laudatory than the mythic Chanel she had self-invented. Chanel would steadfastly claim that when her mother died, her father sailed for America to get rich and she was sent to live with two cold-hearted spinster aunts. She even claimed to have been born in 1893 as opposed to 1883, and that her mother had died when Coco was six instead of twelve. [6]
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Early life
Chanel was born to an unwed mother, Jeanne Devolle, a laundrywoman, in a facility for the indigent in Saumur, France. This was Devolle's second daughter. The father, Albert Chanel was an itinerant street peddler who with horse and cart lived a nomadic life, traveling to and from market towns, the family residing in rundown lodgings. He married Jeanne Devolle several years after Chanel was born. At birth Chanel’s name was entered into the offical registry as “Chasnel.” It is speculated that this spelling was a clerical error or an ancient spelling of the family name. [3] The couple eventually had five children: Julia-Berthe, (1882–1913), Antoinette (born 1887) and three brothers, Alphonse (born 1885), Lucien (born 1889) and Augustin (born and died 1891).
In 1895, when she was twelve years old, Chanel’s mother died of tuberculosis. Her father sent her two brothers out as farm laborers and the three daughters to a bleak area of central France, the Corrèze, into the hands of a convent for orphans, Aubazine. [4] It was a stark, frugal life demanding strict discipline and the rigorous indoctrination of the Catholic faith. At age eighteen, Chanel now too old to remain at Aubazine, went to live in a boarding house set aside for Catholic girls in the town of Moulins. [5]
Having learned the sewing arts during her six years at Aubazine, Chanel was able to find employment as a seamstress. When not plying her trade with a needle, she sang in a cabaret frequented by cavalry officers. It was at this time that Gabrielle acquired the name “Coco,” a name possibly derived from a popular song she sang, or an allusion to the French word for kept woman: cocotte.[5] As cafe entertainer, Chanel broadcast a juvenile allure and suggestion of a mysterious androgyny, tantalizing the military habitués of the cabaret.[5]
Later in life, she concocted an elaborate, fabricated history to couch her humble beginnings in a more compelling light. Of the various stories told about Coco Chanel, a great number were of her own invention. These legends were to be the undoing of the earliest of her biographies. These were ghosted memoirs commissioned by Chanel herself, but never published, always aborted before fruition, as she realized that the facts exposed a personage less laudatory than the mythic Chanel she had self-invented. Chanel would steadfastly claim that when her mother died, her father sailed for America to get rich and she was sent to live with two cold-hearted spinster aunts. She even claimed to have been born in 1893 as opposed to 1883, and that her mother had died when Coco was six instead of twelve. [6]
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