French fashion
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Fashion in France is an important subject in the
Fashion design and production became prominent in France since 15th century. During the 17th century, fashion exploded into a rich industry, for exportation and local consumption.[2]
In the 19th century, fashion made a transition into specialisation for modern term
With the decentralization of the fashion industry, many cities including
History
17th century, the Baroque and Classicism
Fashion prints
The association of France with fashion and style (la mode) is widely credited as beginning during the reign of
Louis XIV, although later hailed as a patron of fashion, did not actually have a large role in its spread and proliferation—which was due to the fashion prints. The fashion prints were ubiquitous, but Louis XIV neither sponsored nor hindered their production and proliferation, and largely stayed out of it unless the prints of himself specifically were treasonous, satirical, or caricatures.[9]
Fashion in royal portraits
Over his lifetime, Louis commissioned numerous works of art to portray himself, among them over 300 formal portraits. The earliest portrayals of Louis already followed the pictorial conventions of the day in depicting the child king as the majestically royal incarnation of France. This idealisation of the monarch continued in later works, which avoided depictions of the effect of the smallpox that Louis contracted in 1647. In the 1660s, Louis began to be shown as a Roman emperor, the god Apollo, or Alexander the Great, as can be seen in many works of Charles Le Brun, such as sculpture, paintings, and the decor of major monuments. The depiction of the King in this manner focused on allegorical or mythological attributes, instead of attempting to produce a true likeness. As Louis aged, so too did the manner in which he was depicted. Nonetheless, there was still a disparity between realistic representation and the demands of royal propaganda. There is no better illustration of this than in Hyacinthe Rigaud's frequently-reproduced Portrait of Louis XIV of 1701, in which a 63-year-old Louis appears to stand on a set of unnaturally young legs.[10] In 1680, Louis began to be portrayed directly rather than in a mythological setting. This began the "fashion portraits", which were prints that depicted the King wearing the notable fashions of the season.[9][11] These prints were also largely unofficial, which meant printers were unaffiliated with the Crown. They largely went unchallenged by authorities, however, as long as they portrayed the King in a positive light. Those who did portray the King satirically or with the use of caricature faced imprisonment.[9]
Rigaud's portrait exemplified the height of royal portraiture in Louis's reign. Although Rigaud crafted a credible likeness of Louis, the portrait was neither meant as an exercise in realism nor to explore Louis's personal character. Certainly, Rigaud was concerned with detail and depicted the King's costume with great precision, down to his shoe buckle.
Trends
Louis XIV notably introduced one of the most noticeable feature of the men's costume of the time: immense wigs of curled hair.[13] A commonly held belief is that Louis XIV started to wear wigs due to balding, and to imitate this his courtiers put on false hair.[13] The wearing of wigs lasted for over a century; they went through many changes, but they were never quite so exaggerated as during this period.[13]
Despite the rise of la mode during Louis XIV's reign, many of the clothes he wore did not survive or were taken from the monarchy's possession. Much like the Crown Jewels, a French king did not actually own any of his clothes. They belonged to the Garde-robe du roi (King's Wardrobe), which dated back to the 16th century. Due to Louis XIV's changes to the King's Wardrobe, officers had a right to the clothes once the monarch died, as long as they would not be used by the king's successor.[9] Furthermore, although the Louis XIV's formal clothing would change along with the rest of la mode, his ceremonial clothing did not, and remained with tradition.[9] The king also used fashion to create a certain effect or theme. During the marriage of his great-grandson Louis, Duke of Burgundy to Princess Marie Adélaïde, the French entourage dressed in bright colors and fashions to contrast with the more soberly dressed Spanish. This was in order to seem younger and more virile than the Spanish courtiers.[9]
18th century, the Rococó and early New classicism
The extravagant styles of the French Royal court racked up enormous debts to keep up its pace, at the peasants' expense. Such fashion sprees notably ruined Marie Antoinette's reputation, and were one of the many factors paving the way for the French Revolution.[13]
Long after her death, Marie Antoinette remains a major historical figure linked with
The phrase "
In 1700, the total monetary value of goods produced in France was documented at a rate of 5%. By the 1780s, gross domestic product rates had increased to 13%. The escalation in production was largely attributable to the growth of the textile industry. The boom in consumerism was fueled by an overwhelming interest in high fashion which surpassed the boundaries of economic rank. French plebeian’s wardrobes became increasingly valuable. Particularly in Paris, women began purchasing dupes of luxury items customarily worn by the elite. These fashion accessories included watches, buttons, and belt buckles.[17]
The rise in distinguishable fashion styles worn by lower class French citizens was exhibited by the coordination of patriotic clothing worn by the republican Sans-culottes. The Sans-culottes were the working class of French peasants who fought for liberty during the French Revolution (1789-1799).
Fashion during the French Revolution greatly reflected the political climate of France. Sans-culottes were known to wear the red cap of liberty, also called the Phrygian cap. This cap was a controversial symbol of rebellion worn exclusively by lower class revolutionaries. Furthermore, the official French colors of blue, red, and white (chosen to be the recognizable patriotic colors of the revolution in 1789), came together to form the tricolor cockade. The design of the tricolor cockade often appeared in dresses, fans, and pins of French citizens who were in support of the French Revolution. Patriotic women were often clad in a dark uniform of black skirts, jackets, and hats adorned with a tricolor cockade.[19]
19th century, full Neoclassicism and Empire style
After the fall of the
The Incroyables wore eccentric outfits: large earrings, green jackets, wide trousers, huge neckties, thick glasses, and hats topped by "dog ears", their hair falling on their ears. Their musk-based fragrances earned them too the derogatory nickname muscadins among the lower classes, already applied to a wide group of anti-Jacobins. They wore bicorne hats and carried bludgeons, which they referred to as their "executive power." Hair was often shoulder-length, sometimes pulled up in the back with a comb to imitate the hairstyles of the condemned. Some sported large monocles, and they frequently affected a lisp and sometimes a stooped hunchbacked posture.
In addition to Madame Tallien, famous Merveilleuses included
The leading Incroyable,
Final 19th and early 20th century, Belle époque and Années folles
France renewed its dominance of the high fashion (
Chanel founded by Mademoiselle Coco Chanel, it first came to prominence in 1925, its philosophy was to emphasize understated elegance through her clothing. Her popularity thrived in the 1920s, because of innovative designs. Chanel's own look itself was as different and new as her creations. Instead of the usual pale-skinned, long-haired and full-bodied women preferred at the time, Chanel had a boyish figure, short cropped hair, and tanned skin. She had a distinct type of beauty that the world came to embrace.
The horse culture and penchant for hunting so passionately pursued by the elites, especially the British, fired Chanel's imagination. Her own enthusiastic indulgence in the sporting life led to clothing designs informed by those activities. From her excursions on water with the yachting world, she appropriated the clothing associated with nautical pursuits: the horizontal striped shirt, bell-bottom pants, crewneck sweaters, and espadrille shoes—all traditionally worn by sailors and fishermen.[23]
World War II, Trente Glorieuses and New Look
Many fashion houses closed during the occupation of Paris in
During this era, the number of employed models was limited to seventy-five and designers often substituted materials in order to comply with wartime shortages. From 1940 onward, no more than thirteen feet (four meters) of cloth was permitted to be used for a coat and a little over three feet (one meter) for a blouse. No belt could be over one and a half inches (four centimeters) wide. As a result of the frugal wartime standards, the practical zazou suit became popular among young French men.
In spite of the fact that so many fashion houses closed down or moved away during the war, several new houses remained open, including
Post-war fashion returned to prominence through
From '60s to today
Where else but in France would people describe themselves to potential partners in terms of their clothes?
— The New York Times on users ofonline dating services, 1995[25]
Post-war fashion returned to prominence through
In the 1960s, "high fashion" came under criticism from France's youth culture (including the
Further innovations were carried out by
Fashion is so important to the French that, as
Cities and towns
France is known as a country of luxury, fashion and beauty, with Paris as one of the world's fashion capitals. It also has many cities and towns with an important history and industry of the entry, with various sized events and shows as fashion weeks and fests.
Paris
The
Marseille
The city is affectionately called "The Old Lady of the Mediterranean" or "The City of Contrasts".[31] The city has enjoyed its position on the continent being a fluvial port with ships full of fashion products. The avenue
In the Centre and Vieux Port (downtown and old port) are other of the city shopping districts, in these areas are a lot of fashion houses for both nationals and internationals.
Lyon
Lyon, the third largest city of France, is a growing fashion industry center. It has been the world's silk capital since the 17th century, with an important textile industry and a strong fashion culture. It is the second biggest luxury goods consumer of the country, with major streets and districts holding houses of high fashion.[32]
The
The
La Croix-Rousse is a fashion district heavily marked by the silk industry, and known for receiving government support for the newcomer fashion designers. The city is the home of the headquarters of international fashion houses such as Korloff, Millesia and the jeweler Augis. Other famous Lyonnaise fashion houses in France include Nicholas Fafiotte, Nathalie Chaize and Garbis Devar.[33]
Other cities and towns
Outside of the biggest cities, there are many "fashionable" cities and towns in France, there are fashion districts, avenues, streets, shopping malls and many places specialized for all the needs of customer.
Fashion shows
The Paris Fashion Week takes place twice a year after the Milan Fashion Week. It is the last and usually the most anticipated city of the fashion month. Dates are determined by the French Fashion Federation. Currently, the Fashion Week is held in the Carrousel du Louvre.
- Africa Fashion Week Paris
- Bordeaux Fashion Week
- Elite Model Look
- Cannes-Nice Fashion Week
- Bal des débutantes
- Lille Fashion Week
- Lyon Fashion Week (FashionCity Show)
- Marseille Fashion Week
- Nantes Fashion Week
- Rennes Fashion Week
- Toulouse Fashion Week
- Strasbourg Fashion Week (EM Fashion Week)
- St. Tropez Fashion Week
- Spring 2004 Dior couture collection
Monaco
Montecarlo Fashion Week (Fashion Fair Week)
Notes
- ^ "Fashion". Gouvernement.fr. Retrieved 2018-10-23.
- TheGuardian.com. 29 July 2011.
- ^ Why is Paris the Capital of Fashion - LoveToKnow - Women's Fashion
- ^ French fashion facts- Paris Digest
- ^ Kelly, 181. DeJean, chapters 2–4.
- ^ DeJean, pp. 35–6, 46–7, 95.
- ^ DeJean, 48.
- ^ Norberg & Rosenbaum p. XV; Introduction.
- ^ a b c d e f Norberg & Rosenbaum, and various authors. (Norberg, Louis XIV: King of Fashion?, p. 135-65)
- JSTOR 20530984.
- ^ In Norberg's article, she references the idea that Louis XIV's portrayal in fashion portraits mirrors the use of notable fashion models of today in order to sell clothing and trends.
- S2CID 170904125.
- ^ a b c d "Dress During Louis XIV, Louis XV, Louis XVI 1643-1789". www.oldandsold.com.
- ^ "Marie Antoinette Biography". Chevroncars.com. Archived from the original on 26 September 2011. Retrieved 17 July 2011.
- ^ Fraser 2001, pp. xviii, 160; Lever 2006, pp. 63–5; Lanser 2003, pp. 273–290
- ^ Johnson 1990, p. 17
- ^ Shovlin, John (2007). The political economy of virtue: Luxury, patriotism, and the origins of the French Revolution. pp. 15–16.
- ^ Steele, Valerie (2017). Paris fashion: A cultural history. pp. 45–46.
- ^ Steele, Valerie (2017). Paris fashion: A cultural history. Bloomsbury. pp. 47–48.
- ^ "Reticule". Austentation: Regency Accessories. Retrieved 4 November 2012.
- ^ Alfred Richard Allinson, The Days of the Directoire, J. Lane, (1910), p. 190
- ^ Kelly, 101.
- ^ Vaughan 2011, pp. 47, 79.
- ^ a b Caroline Weber, "Fashion", in Dauncey (2003), pp. 193–95.
- ^ a b Brubach, Holly (1995-03-12). "STYEL; Fashion Foreplay". The New York Times Magazine. p. 6006081. Retrieved 2018-11-27.
- ^ Weber, p. 196.
- ^ Weber, p. 195.
- ^ "Yves Saint-Laurent". Goodreads. Retrieved 20 May 2012.
- ^ Yves Saint Laurent's body put to rest Archived 2014-10-29 at the Wayback Machine Fashion Television.
- ^ Weber, p. 198.
- ^ "Marsella, aquella vieja dama del Mediterráneo". www.gusplanet.net.
- ^ "Shopping & Fashion - Lyon Tourist Office and Convention Bureau". www.en.lyon-france.com.
- ^ a b "Compras y moda, Actividades y ocio - Oficina de Turismo y Congresos de Lyon". Archived from the original on 2013-07-03. Retrieved 2013-07-06.
References
- Dauncey, Hugh, ed., French Popular Culture: An Introduction, New York: Oxford University Press (Arnold Publishers), 2003.
- DeJean, Joan, The Essence of Style: How The French Invented High Fashion, Fine Food, Chic Cafés, Style, Sophistication, and Glamour, New York: Free Press, 2005, ISBN 978-0-7432-6413-6
- ISBN 978-0-385-48948-5.
- ISBN 978-0-06-091657-2.
- Kelly, Michael, French Culture and Society: The Essentials, New York: Oxford University Press (Arnold Publishers), 2001, (a reference guide)
- Lanser, Susan S. (2003). "Eating Cake: The (Ab)uses of Marie-Antoinette". In Goodman, Dena (ed.). Marie-Antoinette: Writings on the Body of a Queen. Psychology Press. ISBN 978-0-415-93395-7.
- ISBN 978-0-7499-5084-2.
- Nadeau, Jean-Benoît and Julie Barlow, Sixty Million Frenchmen Can't Be Wrong: Why We Love France But Not The French, Sourcebooks Trade, 2003, ISBN 1-4022-0045-5
- Norberg, Kathryn & Rosenbaum, Sandra (editors), and various authors. Fashion Prints in the Age of Louis XIV (Texas Tech University Press, 2014)
- Vaughan, Hal (2011). Sleeping with the enemy : Coco Chanel's secret war. New York: Alfred A. Knopf. ISBN 978-0-307-59263-7.
Further reading
- Bourhis, Katell le: The Age of Napoleon: Costume from Revolution to Empire, 1789-1815, Metropolitan Museum of Art, 1989. ISBN 0870995707
- ISBN 9780870998225.
External links
- La Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de mode - main page
- La Fédération française de la couture - member fashion houses
- "Interactive timeline of couture houses and couturier biographies". Victoria and Albert Museum. 29 July 2015.
- News about French fashion industry FashionUnited
- French Fashion Guide French Fashion History