History of fashion design

The outfits worn by fashionable women of during the Belle Époque (1871–1914) were strikingly similar to those worn in the heyday of the fashion pioneer Charles Worth. By the end of the 19th century, the horizons of the fashion industry had broadened, due to the more stable and independent lifestyles of well-off women and the practical clothes they demanded. However, the fashions of the Belle Époque still retained the elaborate, upholstered style of the 19th century. The changing of fashion was unthinkable, so the use of different trimmings was all that distinguished clothing from one season to the next.

Conspicuous waste and conspicuous consumption defined the fashions of the decade and the outfits of the couturiers of the time were extravagant, ornate, and painstakingly made. The curvaceous S-Bend silhouette dominated fashion up until around 1908. The S-Bend corset thrust the chest forward into the mono-bosom, and, with the aid of padding, judicious placement of trim in clothing, and, most especially, a particular posture entirely independent of the corset, created the illusion of an "S" silhouette.^[9] Toward the end of the decade Paul Poiret introduced designs that did not include a petticoat or a corset, taking the S shape out of fashion. This was a big change, as women's waists had been shaped by corsets since the Renaissance. ^[10]

The Maison Redfern, founded by the English tailor John Redfern (1820–1895), was the first fashion house to offer women sportswear and tailored suits based on their male counterparts, and his practical and soberly elegant garments soon became indispensable to the wardrobes of well-dressed women.

1910s

During the early years of the 1910s the fashionable silhouette became much more lithe and fluid, and softer than in the 19th century. When the Ballets Russes performed Scheherazade in Paris in 1910, a craze for Orientalism ensued. The couturier Paul Poiret was one of the first designers to translate this into the fashion world. Poiret's clients were at once transformed into harem girls in flowing pantaloons, turbans, and vivid colors and geisha in exotic kimono. Poiret also devised the first outfit which women could put on without the help of a maid.^[11]

The Art Deco movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 19th century. It is also notable that the first real fashion shows were organized during this period, by Jeanne Paquin, one of the first female couturiers, who was also the first Parisian couturier to open foreign branches in London, Buenos Aires, and Madrid.^[12]

Two of the most influential fashion designers of the time were

The

After the First World War, a radical change came about in fashion.

The great couturière Coco Chanel was a major figure in fashion at the time, known as much for her magnetic personality as for her chic and progressive designs. Chanel helped popularize the bob hairstyle, the little black dress, and the use of jersey knit for women's clothing; she also elevated the status of costume jewelry and knitwear.

Two other prominent French designers of the 1920s were Jeanne Lanvin and Jean Patou. Jeanne Lanvin, who began her career as a milliner, made such beautiful outfits for her young daughter Marguerite that people started to ask for copies. Lanvin's name appears in the fashion yearbook from about 1901, however, it was in the 1920s that she reached the peak of her success. The Lanvin style embraced the look of the time, with its skillful use of complex trimmings, dazzling embroideries, and beaded decorations in light, clear, floral colors that eventually became a Lanvin trademark. By 1925 Lanvin produced many different products, including sportswear, furs, lingerie, men's fashion, and interior designs. Her global approach to fashion foreshadowed the schemes that all the large contemporary fashion houses would later adopt in their efforts to diversify.

The style of Jean Patou was never mainstream, but full of originality and characterized by a studied simplicity which was to win him fame, particularly in the American markets. Many of his garments, with their clean lines, geometric and

Fair Isle patterns became very popular for both sexes. Heels, at the time, were often over two inches high and helped popularize the two-tone shoe. Salvatore Ferragamo and André Perugia were two of the most influential and respected designers in footwear. Many stars of silent film had a significant impact on fashion during the 1920s, including Louise Brooks, Gloria Swanson, and Colleen Moore. The lighthearted, forward-looking fashions of the 1920s gradually came to halt after the Wall Street Crash of 1929, and succumbed to a more conservative style. While the flapper look persisted into 1930, it quickly disappeared afterward, although bell-shaped hats lasted through 1933.

1930s

In the 1930s, as the public began to feel the effects of the Great Depression, many designers found that crises were not the time for experimentation. Fashion became more compromising, aspiring to preserve feminism's victories while rediscovering a subtle and reassuring elegance and sophistication. Overall, 1930s clothing was somber and modest, reflecting the difficult social and economic situation of the decade. Women's fashions moved away from the brash, daring style of the 1920s towards a more romantic, feminine silhouette. The waistline was restored, hemlines dropped to nearly ankle-length, there was renewed appreciation of the bust, and backless evening gowns, and soft, slim-fitting day dresses became popular. The female body was remodeled into a more neo-classical shape, and slim, toned, and athletic bodies came into vogue. The fashion for outdoor activities stimulated couturiers to manufacture what would today be referred to as "sportswear." The term "ready-to-wear" was not yet widely in use, but the boutiques described such clothes as being "for sport". In place of the bobbed flapper haircut, the standard women's hairstyle of the 1930s was a modest, short perm.

Two of the most prominent and influential fashion designers of the 1930s were Elsa Schiaparelli and Madeleine Vionnet. Elsa Schiaparelli showed her first collection in 1929 and was immediately hailed by the press as 'one of the rare innovators' of the day. With her exciting and inventive designs, Schiaparelli did not so much revolutionize fashion as shatter its foundations. The first pullover she displayed in her windows created a sensation: it was knitted in black with a trompe-l'œil white bow. Schiaparelli was a close friend of Christian Bérard, Jean Cocteau, and Salvador Dalí, who designed embroidery motifs for her and supplied inspiration for models like the desk suit with drawers for pockets, the shoe-shaped hat, the silk dresses painted with flies or lobsters. All of Paris thronged to her salon at 21 Place Vendôme as collection succeeded collection.

Madeleine Vionnet found her inspiration in ancient statues, creating timeless and beautiful gowns that would not look out of place on a Greek frieze. Queen of the bias cut (cutting diagonally across the fabric's lengthwise threads), she produced evening dresses that fitted the body without excessive elaboration or dissimulation, employing a flowing and elegant line. Her perfect draping of chiffon, silk, and Moroccan crêpe created a marvelously poised and sensual effect. The unparalleled success of Vionnet's cuts guaranteed her reputation right up to her retirement in 1939.

Mainbocher, the first American designer to live and work in Paris, was also influential, with his plain yet supremely elegant designs, often employing the bias cut pioneered by Vionnet. The luxury goods manufacturer Hermès began to sell handmade printed silk square scarves in the early 1930s, in addition to popularizing the zipper and many other practical innovations. Toward the end of the decade, women's fashions took on a somewhat more imposing and broad-shouldered silhouette, possibly influenced by Elsa Schiaparelli. Men's fashions continued the informal, practical trend that had dominated since the end of the First World War.

Mid-twentieth century

After World War II, Paris's reputation as the global center of fashion began to crumble. A new youth style emerged in the 1950s, changing the focus of fashion. In the West, the traditional divide between high society and the working class was challenged. In particular, a new young generation wanted to reap the benefits of a booming consumer society. Privilege became less blatantly advertised than in the past and differences were more glossed over. As the ancient European hierarchies were overturned, the external marks of distinction faded. By the time the first rockets were launched into space, Europe was more than ready to adopt a quality ready-to-wear garment along American lines—something to occupy the middle ground between off-the-peg and couture. This need was all the more pressing because increases in overhead and raw material costs were beginning to relegate handmade fashion to the sidelines. Meanwhile, rapidly developing new technologies made it increasingly easy to manufacture an ever-improving, high-quality product.

Faced with the threat of a factory-made, fashion-based product, Parisian fashion couture mounted its defenses, but to little effect. While the old world was taking its final bow, the changes in fashion were one of the most visible manifestations of the general shake-up in society. Before long, classes of women hitherto restricted to inferior substitutes to haute couture would enjoy a greatly enlarged freedom of choice. Dealing in far larger quantities, production cycles were longer than those of couture workshops, which meant that stylists planning their lines for the twice-yearly collections had to try to guess more than a year in advance what their customers would want. A new authority had taken over—that of the street, constituting a further threat to the dictatorship of couture.

1940s

Many fashion houses closed during the occupation of Paris during

Due to difficult times, hemlines crept upward in both evening wear and day wear, the latter of which was made using substitute materials whenever possible. From 1940 onward, fabric was needed for military personnel; to everyone else, it was rationed, with an allowance of no more than four meters (thirteen feet) of cloth was permitted to be used for a coat and a little over one meter (three feet) for a blouse. No belt could be over 3 centimeters (one and a half inches) wide. Everyone, from housewives to designers, was forced to re-use of old fabric or create new styles out of old garments. ^[13] Haute couture did its best to keep its flag flying. Humor and frivolity became a popstar way of defying the occupying powers and couture survived. Although some have argued that the reason it endured was due to the patronage of the wives of wealthy Nazis, records reveal that, aside from the usual wealthy Parisiennes, it was an eclectic mix of the wives of foreign ambassadors, clients from the black market, and miscellaneous other patrons of the salons (among whom German women were but a minority) that kept the doors open at fashion houses such as Jacques Fath, Maggy Rouff, Marcel Rochas, Jeanne Lafaurie, Nina Ricci, and Madeleine Vramant.

Permed hairstyles remained standard, although during the '40s, this evolved into a bobbed roll along the lower part of the hairline.

During the Occupation, the only true way for a woman to flaunt her extravagance or add color to a drab outfit was to wear a hat. In this period, hats were often made of scraps of material that would otherwise have been thrown away, including bits of paper and wood shavings. Among the most innovative milliners of the time were Pauline Adam, Simone Naudet, Rose Valois, and Le Monnier.

Paris's isolated situation in the 1940s enabled Americans to fully utilize the ingenuity and creativity of their own designers. During the Second World War, Vera Maxwell presented outfits constituted of plain, simply cut coordinates, and introduced innovations to men's work clothes. Bonnie Cashin transformed boots into a major fashion accessory, and, in 1944, began the production of original and imaginative sportswear. Claire McCardell, Anne Klein, and Cashin formed a remarkable trio of women who laid the foundations of American sportswear, ensuring that ready-to-wear was not considered a mere second best, but an elegant and comfortable way for modern women to dress.

In the War Years, the zoot suit (and in France the zazou suit) became popular among young men.

Many actresses of the time, including Rita Hayworth, Katharine Hepburn, and Marlene Dietrich, had a significant impact on popular fashion.

The couturier Christian Dior created a tidal wave with his first collection in February 1947. The collection contained dresses with accentuated busts, tiny (or "wasp") waists, and extravagantly full skirts, emphasizing the feminine hourglass figure in a manner very similar to the style of the Belle Époque. The lavish use of fabric and the feminine elegance of the designs appealed to post-war clientele and ensured Dior's meteoric rise to fame. The sheer sophistication of the style incited the all-powerful editor of the American Harper's Bazaar, Carmel Snow, to exclaim 'This is a new look!'.

1950s

Flying in the face of continuity, support and logic, and erudite sociological predictions, fashion in the 1950s, far from being revolutionary and progressive, used more from the previous decade. A whole society which, in the 1920s and 1930s, had greatly believed in progress, was now much more circumspect. Despite the fact that women had the right to vote, to work, and to drive their own cars, they chose to wear dresses made of opulent materials, with corseted waists and swirling skirts to mid-calf. As fashion looked to the past, haute couture experienced something of a revival and spawned a myriad of star designers who profited hugely from the rapid growth of the media.

Throughout the 1950s, although it would be for the last time, women around the world continued to submit to the trends of Parisian haute couture. Three of the most prominent of the Parisian couturiers of the time were Cristóbal Balenciaga, Hubert de Givenchy, and Pierre Balmain. The frugal prince of luxury, Cristóbal Balenciaga Esagri made his fashion debut in the late 1930s. However, it was not until the post-war years that the full scale of the inventiveness of this highly original designer became evident. In 1951, he totally transformed the silhouette, broadening the shoulders and removing the waist. In 1955, he designed the tunic dress, which later developed into the chemise dress of 1957. And eventually, in 1959, his work culminated in the Empire line, with high-waisted dresses and coats cut similarly to kimono. His mastery of fabric design and creation defied belief. Balenciaga is also notable as one of the few couturiers in fashion history who could use their own hands to design, cut, and sew the models which symbolized the height of his artistry.

Pierre Balmain opened his own salon in 1945. It was in a series of collections named 'Jolie Madame' that he experienced his greatest success, from 1952 onwards. Balmain's vision of the elegantly dressed woman was particularly Parisian and was typified by the tailored glamour of the "

Also notable is the return of Coco Chanel (who detested the "New Look") to the fashion world. Following the closure of her salons in the war years, in 1954, aged over seventy, she staged a comeback and on February 5 she presented a collection that contained a whole range of ideas that would be adopted and copied by women all over the world: her famous little braided suit with gold chains, shiny costume jewelry,

Despite being a high fashion designer, American-born Mainbocher also designed military and civilian service uniforms. In 1952, he redesigned the Women Marines service uniform combining femininity with functionality. Previous redesigns include uniforms for the WAVES (

During the second half of the 1950s, there was a general move towards less formal clothing, especially among men's fashion. The fedora and Homburg hat, as well as trench coats, disappeared from widespread use (this trend had already begun some years earlier on the more informal West Coast of the US) after having been standard parts of menswear since the 1920s.

The designers of

Until the 1960s, Paris was considered to be the center of fashion throughout the world. However, between 1960 and 1969 a radical shake-up occurred in the fundamental structure of fashion. From the 1960s onward, there would never be just one single, prevailing trend or fashion but a great plethora of possibilities, indivisibly linked to all the various influences in other areas of people's lives. Prosperity and the emergence of a distinct teenager culture, combined with the counterculture movement, would all have major effects on fashion.

After 30 years of conservative clothing styles, the '60s saw a kind of throwback to the 1920s with women once again adopting a childlike look with bobbed haircuts and progressively less modest clothing. At the start of the decade, skirts were knee-length but steadily became shorter and shorter until the mini-skirt emerged in 1965. By the end of the decade they had shot well above the stocking top, making the transition to tights inevitable.

Many of the radical changes in fashion developed in the streets of London, with such gifted designers as Mary Quant (known for launching the mini skirt) and Barbara Hulanicki (the founder of the legendary boutique Biba). Paris also had its share of new and revolutionary designers, including Pierre Cardin (known for his visionary and skillfully cut designs), André Courrèges (known for his futuristic outfits and for launching the mini skirt along with Mary Quant), Yves Saint Laurent (known for his revolutionary yet elegant fashions), and Emanuel Ungaro (known for his imaginative use of color and bold baroque contrasts). In the United States, Rudi Gernreich (known for his avant-garde and futuristic designs) and James Galanos (known for his luxurious ready-to-wear) were also reaching a young audience. The main outlets for these new young fashion designers were small boutiques, selling outfits that were not exactly 'one-offs', but were made in small quantities in a limited range of sizes and colors. However, not all designers took well to the new style and mood. In 1965, Coco Chanel mounted a rearguard action against the exposure of the knee and Balenciaga resolutely continued to produce feminine and conservative designs.

The basic shape and style of the time were simple, neat, trim, and colorful. Hats had already begun their decline in the previous decade and were now almost completely extinct except for special occasions. Lower kitten heels were a pretty substitute for stilettos. Pointed toes gave way to chisel-shaped toes in 1961 and to an almond toe in 1963. Flat boots also became popular with very short dresses in 1965 and eventually, they rose up the leg and reached the knee.

The '60s for the first time saw a widespread assortment of popular hairstyles, including bobs, pageboy cuts, and beehives.

Two notable and influential designers in the 1960s were

The principal change in menswear in the 1960s was in the weight of the fabric used. The choice of materials and the method of manufacture produced a suit that, because it was lighter in weight, had a totally different look, with a line that was closer to the natural shape of the body, causing men to look at their figures more critically. The spread of jeans served to accelerate a radical change in the male wardrobe. Young men grew their hair down to their collars and added a touch of color, and even floral motifs, to their shirts. The polo neck never succeeded in replacing the tie, but the adoption of the workman's jacket in rough corduroy, and especially the mao jacket proved to be more than simply a political statement. A few futuristic rumblings were set off by Pierre Cardin and Andre Courrèges, but the three-piece suit still survived intact.

In the early 1960s there were influential 'partnerships' of celebrities and high-fashion designers, most famously

Nicknamed the 'me' decade; 'please yourself' was the catchphrase of the 1970s. Some saw it as the end of good taste. The decade began with a continuation of the hippie look of the late 1960s, with kaftans, Indian scarves, and floral-print tunics.

Another popular British style was the resolutely unmodern, feminine, countrified style of clothing popularized by Laura Ashley, which consisted of long flounced skirts and high-necked blouses in traditional floral prints, worn with crocheted shawls. Laura Ashley started out running a small business in Wales in the mid-1960s and the company continued to expand until the accidental death of its owner in 1985. Laura Ashley was not the only designer to look nostalgically to the past. Fashions based on the 1920s, 30s, 40s, and 50s were popular throughout much of the decade, with Hollywood films like The Godfather and The Great Gatsby, and numerous exhibitions on costume history at the Metropolitan Museum of Art in New York increasing their popularity. In Japan, the boutiques of Tokyo's fashionable Harajuku district sold many reworked versions of traditional British and American looks.

In the United States, the general trend in fashion was towards simplification and longer skirts, although many women reacted negatively to the midi-length, which they felt to be aging. Pants, on the other hand, earned unanimous approval. Jeans profited most from becoming an accepted part of the American fashion scene in the 1970s, their newfound respectability deriving from their inclusion in collections under the heading of sportswear. The new stars of American ready-to-wear adapted the best of what they learned from Europe to the massive American clothing industry. Calvin Klein and Ralph Lauren rose from anonymity more or less simultaneously to tackle the question of designing clothes for the men and women of a new world. Two opposing movements dominated fashion in the U.S during the 1970s. On one hand, there was the tailored, unisex look; on the other hand, a fluid, unstructured style with a strong feeling of 1930s glamor. The most influential American designer of the time, Roy Halston Frowick (known simply as Halston), belonged to the latter category. Acquiring celebrity status on the New York scene, his particular talent was in reconciling the made-to-measure garment for the special occasion with concepts of comfort, naturalness, and relaxation. With his kaftans, shirtwaisters, djellabas, ultra-lightweight shift dresses, and tunics worn over shorts and wide-legged pants, he was an icon of the era, and a regular visitor at the VIP room of the Studio 54 after its opening in 1977.

Geoffrey Beene, praised for his elegant and sophisticated cuts and his use of black and white, was at his most successful in the radically simplified designs at which he excelled. His smart little dresses and well-cut suits in jersey, flannel, and wool were instrumental in discouraging American women from over-accessorizing. Bill Blass, who launched his own range in 1962, developed the habit of traveling all over the United States in order to hear for himself what his customers desired. One of the most popular designers of the time, he was almost too successful in fulfilling his customers' wishes. His disciplined style and workmanship were particularly favored by businesswomen and the wives of senior executives. Betsey Johnson started out designing for the boutique Paraphernalia. Using vinyl and metallic fabrics and putting emphasis on wit, imagination, and independence, she brought an unprecedented spirit of irreverence to New York in the 1970s.

In popular fashion, the

During the 1970s a new generation of menswear boutiques sprang up, aiming to change the decor, rituals, and customer base of a traditionally 'difficult' trade. To sell fashionable clothes to a young man at the end of the 1960s was still, in many circles, tantamount to questioning his masculinity. Men's appearance changed more in the 1970s than it had done in a whole century. Many of the fashion designers who revolutionized the male look owed a lot of their innovations to Pierre Cardin: narrow shoulders, tight-fitting lines, no tie, no interfacing, zip-up boiler suits, waisted jackets or tunics, sometimes no shirt. Work clothes supplied inspiration for a less formal style, encouraging designers to look beyond the traditional suit and, for example, adopt a unisex look or investigate the massive supply of second-hand clothes. Sometimes this kind of male dressing-down, often denounced as 'hippie', gained formal recognition as a deliberate look. At certain other times, as part of a retro movement, designers introduced a revival of 1930s elegance. The unearthing of old military clothing, preferably khaki and from the United States; English-style shoes; Oxford shirts; immaculate T-shirts; tweed jackets with padded shoulders; brightly-colored V-neck sweaters; cashmere-printed scarves draped around the neck all imposed a certain uniformity on the casual beatnik look of the male wardrobe at the end of the 1970s.

Also significant are the developments in Italian fashion that happened during the period. In the course of the 1970s, as a result of its ready-to-wear industry,

During the late 20th century, fashions began to criss-cross international boundaries with rapidity. Popular Western styles were adopted all over the world, and many designers from outside of the West had a profound impact on fashion. Synthetic materials such as Lycra/spandex, and viscose became widely used, and fashion, after two decades of looking to the future, once again turned to the past for inspiration.

1980s

The society of the 1980s no longer criticized itself as consumerist, but was, instead, interested in 'the spectacle'. The self-conscious image of the decade was very good for the fashion industry, which had never been quite so à la mode. Fashion shows were transfigured into media-saturated spectaculars and frequently televised, taking high priority in the social calendar. Appearance was related to performance, which was of supreme importance to a whole generation of young urban professionals, whose desire to look the part related to a craving for power. The way in which men and women associated with the latest styles was no more a matter of passive submission but disco music rapidly fell out of favor as the decade began, along with its associated clothing styles. By 1982, the last traces of 1970s fashion were gone.

During the 1980s, the mullet became the standard men's haircut and women sported large, square-cut perms although there were many variations of both. Jumpsuits became a popular element of female clothing and on men, skinny neckties and wraparound sunglasses. Also during the '80s, aerobics was in vogue and so brought into style Spandex leggings and headbands.

The two French fashion designers who best defined the look of the period were a man and

Also creating designs very typical of the era were Claude Montana, whose imposing, broad-shouldered designs, often made of leather, would not have looked out of place in the futuristic universe of Thierry Mugler, and Christian Lacroix, who sent shock waves through the world of haute couture, with his flounced skirts, embroidered corselets, bustles, and polka-dotted crinolines which evoked the rhythms of flamenco.

A number of promising newcomers entered the fashion scene in the 1980s., an extraordinary technician who once worked for Patou, bewitched both the press and his customers with his 'handkerchief' dresses. Made of squares of fabric, they transpired, when you came to put them on, to be far more complicated than at first appeared. Many a Parisian soirée of the 1980s was enlivened by his dresses, all in a fluid and original style, in which cutting and sewing were kept to a minimum. Chantal Thomas, the queen of sexy stockings and lace, won a devoted following for her seductive underwear and for evening gowns that looked like nightdresses and vice versa. Guy Paulin was one of the first designers to promote a severe, plain, and uncluttered look. His garments were classical in their proportions and made for comfort and simplicity, with their harmonious lines reinforced by a subtle palette of colors and fine materials. Under his own name, Joseph designed luxurious knitwear along classic lines, creating loose, sexy garments in neutral colors.

Japanese designers such as Rei Kawakubo and Yohji Yamamoto offered a look that marked a total break with the prevailing fashion image of the time. Flat shoes, no make-up, reserve, modesty, and secrecy were the hallmarks of this modern look. Eventually, it began to include details from the fashions of the past, as Europe's ancient sites were revisited by these anarchists of fashion, whose influence on the shape of clothes, at the end of the 20th-century, became legendary.

In American fashion the seductive, clinging style of

Central to the success of a new wave of American sportswear was the

In the 1990s it was no longer the done thing to follow fashion slavishly, a sharp contrast to the highly a la mode 1970s and 1980s. The phobia of being underdressed was finally completely displaced by the fear of overdressing. Fashion in the 1990s united around a new standard, minimalism, and styles of stark simplicity became the vogue. Despite the best efforts of a few designers to keep the flag for pretty dresses flying, by the end of the decade the notion of ostentatious finery had virtually disappeared. As well as the styling of the product, its promotion in the media became crucial to its success and image. The financial pressures of the decade had a devastating effect on the development of new talent and lessened the autonomy enjoyed by more established designers.

Fashion at the end of the 20th century tackled themes that fashion had not previously embraced. These themes included rape, disability, religious violence, death, and body modification. There was a dramatic move away from the sexy styles aimed at the glamorous

The famous Italian fashion house,

In the 1990s the designer label Prada became a true creative force in the fashion industry. The Milanese company was first established in 1923, two years after Gucci, and like Gucci, it was a firm that sold high-quality shoes and leather. It was until the 1980s that Miuccia Prada, the niece of the company's founder, began to produce ready-to-wear fashion, gaining fame for her subtle, streamlined, yet unquestionably luxurious style, that catered for the privileged young woman who prefers understatement to flamboyant extravagance.

In America three of the most influential fashion designers of the time were Michael Kors, Marc Jacobs, and Calvin Klein. Michael Kors set up his own business in 1980. However, it was not until the 1990s that the designer reached the peak of his popularity. His knowledge and consciousness of trends enabled him to produce simple well-cut garments, whose sophistication and elegance appealed to a whole new breed of wealthy American customers drawn to the new vogue for minimalist chic. Marc Jacobs is one of the most notable American designers of the period in that, unlike many American fashion designers in the past, he was not so much the co-ordinator of a mass-produced garment as a designer in the European sense of the word. One of the most promising talents in the fashion industry at the time, the LVMH (Louis Vuitton-Moet Henessy) group offered him the job of designing a line of ready-to-wear to complement the de-luxe products of luggage specialist Louis Vuitton in the late 1990s. One of the first fashion designers to anticipate the globalization of world markets, the already well-known designer Calvin Klein started to market his fashions, perfumes, and accessories not only right across the US but also in Europe and Asia, achieving an unequaled success. A brilliant artistic director, Klein used carefully constructed advertisements containing images tinted with eroticism to promote his sophisticatedly functional mass-produced designs, which won massive popularity among the urban youth of the 1990s.

The group of designers known as the 'Antwerp Six' (so named because all of them were graduates of the Royal Academy of Fine Arts in Antwerp), who first emerged in the 1980s, came to prominence in the 1990s. Three of the most influential of the group were Ann Demeulemeester, Dries van Noten, and Walter Van Beirendonck. Ann Demeulemeester, from her first collection in 1991, demonstrated a great deal of confidence and inventiveness. Naturally inclined to understatement, she built her designs on contradictions, introducing contrasting elements into her fluid and streamlined fashions, which appealed to women who dressed, above all, to please themselves. The work of Dries van Noten was founded on a solid mastery of the art of tailoring, to which the young designer added discreet touches of fantasy in a highly personal style. Managing to be both classical and original, his fashions appealed to those who preferred to express their individuality rather than slavishly follow trends. Walter Van Beirendonck, who erupted onto the fashion scene in 1995, produced decidedly futuristic designs under his label W & LT (Wild and Lethal Trash). Deliberately using fabrics developed by the very latest technologies, in violently contrasting colors, he produced clothes that were full of erotic and sadomasochistic references, touched with caustic adolescent humor. His highly distinctive approach related to a resurgence of anti-fashion, but this time an anti-fashion with nothing in the least ethnic about its origins, instead based on science fiction that provided the inspiration for displays of such high-spirited provocation.

In Italy, Gianni Versace, with his brilliant, sexy, and colorful designs, and Dolce & Gabbana, with their superfeminine and fantastical style, broke away from the serious and sober-minded fashions that dominated during much of the 1990s. The British designer Vivienne Westwood produced many influential and popular collections in the early 1990s, which included outfits inspired by 18th-century courtesans and the Marquis de Sade, with rounded hips, corsets, and platform heels. The London-based designer Rifat Ozbek was also popular, particularly in New York and Milan. His youthful style, which mixed references to India, Africa, and his native Turkey with clever takes on historical clothing, was reminiscent of hippest nightclubs and the more outrageous street fashions of the time. Rap music was a prominent influence on popular and street fashion during the early and mid-1990s. Followers of hip hop adopted huge baggy jeans, similar to those worn in American prisons, with big patterned shirts and heavy black shoes. The sports label Nike had great popularity, and materials such as Lycra/spandex were increasingly used for sportswear. Increasing eco-awareness and animal rights made even top couture houses such as Chanel introduce fake fur and natural fibers into their collections.

21st century

2000s

2010s

References