1920 Noir Fashion Noir Fashion Couture

Overview of style in the French Republic

Fashion in France is an important discipline in the culture and country's social life, as well, being an of import part of its economy.^[1]

Fashion design and production became prominent in French republic since 15th century. During the 17th century, fashion exploded into a rich industry, for exportation and local consumption, the Regal Minister of Finances, Jean-Baptiste Colbert, says "Mode is to France what the gilded mines of Peru are to Kingdom of spain...".^[2] In the 19th century, fashion made a transition into specialisation for modernistic term haute couture, originated in the 1860s, bringing good taste to mode argot. The term prêt-à-porter was born in the 1960s, reacting confronting the traditional notions of fashion and garment-making process, satisfying the needs of pop culture and mass media.

Paris acts as the center of the style industry and holds the name of global way capital. The urban center is home to many prime number designers, including Chanel, Louis Vuitton, Givenchy, Balmain, Christian Louboutin, Pierre Cardin, Yves Saint Laurent, Roger Vivier, Thierry Mugler, Christian Dior, Jean Paul Gaultier, Hermès, Lanvin, Chloé, Rochas, and Céline.^{[3] [iv]}

With the decentralization of the mode industry, many cities including: Lyon, Marseille, Bordeaux, Toulouse, Lille and Strasbourg have their ain luxury districts and avenues. In recent times, these have become important customers and significant producers. Île-de-France, Manosque, La Gacilly (near Rennes), and Vichy lead the cosmetic industry, and house well-known international beauty houses such as Fifty'Oréal, Lancôme, Guerlain, Clarins, Yves Rocher, L'Occitane, Vichy, etc. The cities of Overnice, Cannes and St. Tropez among others in the French riviera are well known as places of pleasure, annually hosting many media celebrities and personalities, potentates, and billionaires. The habiliment of France is famous throughout the world.

History [edit]

17th century, the Baroque and Classicism [edit]

Fashion prints [edit]

The clan of France with mode and manner (la style) is widely credited every bit beginning during the reign of Louis XIV^[5] when the luxury goods industries in French republic came increasingly under majestic control and the French royal courtroom became, arguably, the arbiter of taste and style in Europe. The ascension in prominence of French mode was linked to the creation of the fashion press in the early 1670s (due in large function to Jean Donneau de Visé), which transformed the mode manufacture by marketing designs to a broad public outside the French courtroom^[6] and by popularizing notions such as the manner "season" and changing styles.^[7] The prints were commonly 14.25 Ten 9.five and depicted a human being or adult female of quality wearing the latest fashions. They were unremarkably shown head to toe, just with no individuality or defined facial features. Sometimes the figure would be depicted from behind in order to showcase a different side of the article of clothing. Although the individual in the prints was often crudely sketched, the garment itself was impeccably drawn and detailed. Accessories to the garment also received nuanced attention.^[8]

Louis 14, although later hailed as a patron of fashion, did non actually accept a large role in its spread and proliferation—which was due to the style prints. The fashion prints were ubiquitous, but Louis Fourteen 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 purple portraits [edit]

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 twenty-four hour period in depicting the child king equally the majestically royal incarnation of France. This idealisation of the monarch continued in afterward works, which avoided depictions of the effect of the smallpox that Louis contracted in 1647. In the 1660s, Louis began to be shown equally a Roman emperor, the god Apollo, or Alexander the Bully, as tin be seen in many works of Charles Le Brun, such as sculpture, paintings, and the decor of major monuments. The depiction of the Rex in this way focused on allegorical or mythological attributes, instead of attempting to produce a true likeness. As Louis aged, so besides did the manner in which he was depicted. All the same, in that location was still a disparity betwixt realistic representation and the demands of royal propaganda. There is no better illustration of this than in Hyacinthe Rigaud'south often-reproduced Portrait of Louis 14 of 1701, in which a 63-year-sometime Louis appears to stand up on a fix 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 Rex wearing the notable fashions of the flavor.^{[ix] [11]} These prints were also largely unofficial, which meant printers were unaffiliated with the Crown. They largely went unchallenged by authorities, even so, as long as they portrayed the King in a positive low-cal. Those who did portray the King satirically or with the use of caricature faced imprisonment.^[9]

Rigaud's portrait exemplified the peak of imperial 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'south personal character. Certainly, Rigaud was concerned with item and depicted the King's costume with nifty precision, downward to his shoe buckle.^[12] However, Rigaud'south intention was to glorify the monarchy. Rigaud's original, now housed in the Louvre, was originally meant as a souvenir to Louis's grandson, Philip 5 of Spain. However, Louis was and so pleased with the work that he kept the original and commissioned a re-create to be sent to his grandson. That became the outset of many copies, both in full and one-half-length formats, to be made by Rigaud, frequently with the help of his administration. The portrait also became a model for French majestic and imperial portraiture down to the time of Charles Ten over a century later. In his work, Rigaud proclaims Louis's exalted royal status through his elegant opinion and haughty expression, the royal regalia and throne, rich ceremonial fleur-de-lys robes, as well as the upright column in the background, which, together with the draperies, serves to frame this epitome of majesty.

Trends [edit]

Louis 14 notably introduced one of the near noticeable characteristic of the men'southward costume of the fourth dimension: immense wigs of curled hair.^[13] A commonly held belief is that Louis Fourteen started to wear wigs due to balding, and to imitate this his courtiers put on simulated 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 flow.^[13]

Despite the rise of la mode during Louis 14's reign, many of the dress he wore did not survive or were taken from the monarchy's possession. Much like the Crown Jewels, a French king did non actually own whatever of his clothes. They belonged to the Garde-robe du roi (Male monarch'south 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 one time the monarch died, equally long as they would not be used by the rex's successor.^[9] Furthermore, although the Louis XIV's formal clothing would change along with the rest of la mode, his ceremonial habiliment did non, and remained with tradition.^[ix] The male monarch as well used fashion to create a sure effect or theme. During the union of his bully-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 gild to seem younger and more virile than the Spanish courtiers.^[9]

18th century, the Rococó and early New classicism [edit]

The extravagant styles of the French Royal court racked upwardly enormous debts to go along upward its pace, at the peasants' expense. Such manner sprees notably ruined Marie Antoinette's reputation, and were one of the many factors paving the fashion for the French Revolution.^[13]

Marie Antoinette the Queen of French republic, in improvident 18th century French way.

Long after her death, Marie Antoinette remains a major historical figure linked with conservative and the Cosmic Church positions; and a major cultural icon associated with high glamour, wealth and a certain style of life based on luxury and celebrity appealing today to the social and cultural elites; ofttimes referenced in pop culture,^[14] beingness the subject of several books, films and other forms of media. Most academics and scholars, have deemed her the quintessential representative of class conflict, western aristocracy and authoritarianism regime in addition to being frivolous, superficial; and have attributed the start of the French Revolution.

The phrase "Let them eat cake" is often attributed to Marie Antoinette, but there is no prove she ever uttered information technology, and it is now mostly regarded as a "journalistic platitude".^[15] Information technology may accept been a rumor started by angry French peasants as a course of libel. This phrase originally appeared in Book VI of the first function (finished in 1767, published in 1782) of Rousseau'south putative autobiographical work, Les Confessions: "Enfin je me rappelai le pis-aller d'une grande princesse à qui l'on disait que les paysans due north'avaient pas de hurting, et qui répondit: Qu'ils mangent de la brioche" ("Finally I recalled the stopgap solution of a bang-up princess who was told that the peasants had no breadstuff, and who responded: 'Let them eat brioche'"). Apart from the fact that Rousseau ascribes these words to an unknown princess, vaguely referred to every bit a "great princess", some think that he invented it altogether as Confessions was largely inaccurate.^[16]

In 1700, the total monetary value of appurtenances produced in France was documented at a rate of 5%. Past the 1780s, gdp 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 way which surpassed the boundaries of economic rank. French plebeian'south 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 ascension 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 freedom during the French Revolution (1789-1799).^[eighteen] The Sans-culottes (lit. "without knee-breeches") rejected the powdered wigs and the genu-breeches alloyed to the nobility, and instead favored breezy styles (full-length trousers, and natural pilus), which finally triumphed over the brocades, lace, periwig, and powder of the earlier eighteenth century.

Style during the French Revolution greatly reflected the political climate of France. Sans-culottes were known to wear the scarlet cap of liberty, as well chosen the Phrygian cap. This cap was a controversial symbol of rebellion worn exclusively by lower class revolutionaries. Furthermore, the official French colors of bluish, cerise, and white (chosen to exist the recognizable patriotic colors of the revolution in 1789), came together to form the tricolor cockade. The design of the tricolor cockade ofttimes appeared in dresses, fans, and pins of French citizens who were in support of the French Revolution. Patriotic women were often clad in a nighttime uniform of blackness skirts, jackets, and hats adorned with a tricolor cockade.^[19]

19th century, full Neoclassicism and Empire style [edit]

Subsequently the autumn of the Jacobins and their Sans-culottes supporters, the supporters of the Thermidorian Reaction were known as the Incroyables and Merveilleuses. They scandalized Paris with their extravagant clothes. The Merveilleuses wore dresses and tunics modeled subsequently the ancient Greeks and Romans, cutting of calorie-free or even transparent linen and gauze. Sometimes so revealing they were termed "woven air", many gowns displayed cleavage and were too tight to allow pockets. To conduct even a handkerchief, the ladies had to utilise pocket-size bags known equally reticules.^[20] They were fond of wigs, oftentimes choosing blonde considering the Paris District had banned blonde wigs, but they also wore them in blackness, blueish, and green. Enormous hats, brusk curls similar those on Roman busts, and Greek-manner sandals were the virtually popular. The sandals were tied above the ankle with crossed ribbons or strings of pearls. Exotic and expensive scents made by perfume houses like Parfums Lubin were worn every bit both for style and as indicators of social station. Thérésa Tallien, known equally "Our Lady of Thermidor", wore expensive rings on the toes of her bare feet and gold circlets on her legs.

The Incroyables wore eccentric outfits: large earrings, light-green jackets, wide trousers, huge neckties, thick glasses, and hats topped past "domestic dog ears", their pilus 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 ability." Hair was often shoulder-length, sometimes pulled up in the dorsum 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 add-on to Madame Tallien, famous Merveilleuses included Anne Françoise Elizabeth Lange, Jeanne Françoise Julie Adélaïde Récamier, and 2 very popular Créoles: Fortunée Hamelin and Hortense de Beauharnais. Hortense, a girl of the Empress Josephine, married Louis Bonaparte and became the mother of Napoleon III. Fortunée was not built-in rich, but she became famous for her salons and her string of prominent lovers. Parisian society compared Germaine de Staël and Mme Raguet to Minerva and Juno and named their garments for Roman deities: gowns were styled Flora or Diana, and tunics were styled à la Ceres or Minerva.^[21]

The leading Incroyable, Paul François Jean Nicolas, vicomte de Barras, was one of five Directors who ran the Commonwealth of French republic and gave the period its name. He hosted luxurious feasts attended by royalists, repentant Jacobins, ladies, and courtesans. Since divorce was now legal, sexuality was looser than in the by. However, de Barras' reputation for immorality may accept been a factor in his later overthrow, a coup that brought the French Consulate to power and paved the way for Napoleon Bonaparte.

Final 19th and early on 20th century, Belle époque and Années folles [edit]

Coco Chanel, French designer revolutionised fashion world, in the post-World War I era.

France renewed its dominance of the high fashion (French: couture or haute couture) industry in the years 1860–1960 through the establishing of the great couturier houses, the fashion press (Vogue was founded in 1892 in USA, and 1920 in France) and fashion shows. The beginning modern Parisian couturier house is mostly considered the work of the Englishman Charles Frederick Worth, who dominated the manufacture from 1858–1895.^[22] In the belatedly nineteenth and early on twentieth century, the industry expanded through such Parisian way houses as the firm of Jacques Doucet (founded in 1871), Rouff (founded 1884), Jeanne Paquin (founded in 1891), the Callot Soeurs (founded 1895 and operated past four sisters), Paul Poiret (founded in 1903), Louise Chéruit (founded 1906), Madeleine Vionnet (founded in 1912), Business firm of Patou by Jean Patou (founded in 1919), Elsa Schiaparelli (founded in 1927) or Balenciaga (founded past the Spaniard Cristóbal Balenciaga in 1937).

Chanel founded by Mademoiselle Coco Chanel, it showtime came to prominence in 1925, its philosophy was to emphasize understated elegance through her wear. Her popularity thrived in the 1920s, because of innovative designs. Chanel'due south ain expect itself was equally different and new equally her creations. Instead of the usual pale-skinned, long-haired and concentrated women preferred at the fourth dimension, Chanel had a adolescent figure, curt cropped hair, and tanned skin. She had a distinct type of beauty that the world came to embrace.

The horse civilization and penchant for hunting and then passionately pursued by the elites, peculiarly 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 h2o 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 past sailors and fishermen.^[23]

World State of war Two, Trente Glorieuses and New Wait [edit]

Many mode houses closed during the occupation of Paris in World War Two, including the Maison Vionnet and the Maison Chanel. In contrast to the stylish, liberated Parisienne, the Vichy government promoted the model of the wife and mother, the robust, able-bodied immature adult female, a figure who was much more in line with the new political criteria. Germany, meanwhile, was taking possession of over one-half of what France produced, including high manner, and was because relocating French haute couture to the cities of Berlin and Vienna, neither of which had whatever significant tradition of fashion. The archives of the Chambre Syndicale de la Couture were seized, by and large for their client lists every bit Jews were excluded from the fashion industry at this time.

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 thirteen feet (four meters) of cloth was permitted to be used for a glaze and a little over 3 feet (1 meter) for a blouse. No belt could be over one and a half inches (four centimeters) broad. As a effect of the frugal wartime standards, the applied zazou conform 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 up, including Jacques Fath, Maggy Rouff, Marcel Rochas, Jeanne Lafaurie, Nina Ricci, and Madeleine Vramant. During the Occupation, the but true way for a woman to flaunt her extravagance and add color to a drab outfit was to wearable a hat. In this period, hats were often made of scraps of material that would have otherwise been thrown abroad, sometimes incorporating butter muslin, bits of paper, and woods shavings. Among the most innovative milliners of the time were Pauline Adam, Simone Naudet, Rose Valois, and Le Monnier.

Mail service-war fashion returned to prominence through Christian Dior's famous "New Wait" in 1947: the collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices, in a manner very similar to the mode of the Belle Époque. The extravagant use of fabric and the feminine elegance of the designs appealed profoundly to a mail service-state of war clientele. Other important houses of the period included Pierre Balmain and Hubert de Givenchy (opened in 1952). The manner magazine Elle was founded in 1945. In 1952, Coco Chanel herself returned to Paris.^[24]

From '60s to today [edit]

Where else but in France would people depict themselves to potential partners in terms of their clothes?

Post-war mode returned to prominence through Christian Dior'southward famous "New Look" in 1947: the collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices, in a manner very similar to the way of the Belle Époque. The extravagant utilise of fabric and the feminine elegance of the designs appealed greatly to a post-war clientele. Other important houses of the menstruum included Pierre Balmain and Hubert de Givenchy (opened in 1952). The fashion magazine Elle was founded in 1945. In 1952, Coco Chanel herself returned to Paris.^[24]

Karl Lagerfeld was one of the most prestigious and powerful designers in the modern fashion globe, former creative head of Chanel way house.

In the 1960s, "loftier manner" came under criticism from France's youth culture (including the yé-yés) who were turning increasingly to London and to casual styles.^[26] In 1966, the designer Yves Saint Laurent broke with established high fashion norms by launching a prêt-à-porter ("ready to wear") line and expanding French fashion into mass manufacturing and marketing (fellow member houses of the Chambre Syndicale were forbidden to use even sewing machines).^[27] In 1985, Caroline Rennolds Milbank wrote, "The most consistently celebrated and influential designer of the past twenty-five years, Yves Saint Laurent can be credited with both spurring the couture's rise from its sixties ashes and with finally rendering ready-to-wear reputable."^[28] He is as well credited with having introduced the tuxedo suit for women and was known for his use of not-European cultural references, and not-white models.^[29]

Further innovations were carried out by Paco Rabanne and Pierre Cardin. In post-1968 France, youth civilization would continue to gravitate away from the "sociopolitically suspect" luxury clothing manufacture, preferring instead a more "hippy" look (termed baba absurd in French).^[thirty] With a greater focus on marketing and manufacturing, new trends were established by Sonia Rykiel, Thierry Mugler, Claude Montana, Jean-Paul Gaultier and Christian Lacroix in the 1970s and '80s. The 1990s saw a conglomeration of many French couture houses nether luxury giants and multinationals such as LVMH.

Fashion is so of import to the French that, every bit The New York Times in 1995 quoted in an article on users of online dating services on Minitel, "Where else simply in France would people describe themselves to potential partners in terms of their clothes?"^[25] Since the 1960s, France'due south style industry has come under increasing contest from London, New York, Milan and Tokyo. Still, many foreign designers yet seek to make their careers in France: Karl Lagerfeld (German) at Chanel, John Galliano (British) and afterward, Raf Simons (Belgian) at Dior, Paulo Melim Andersson (Swedish) at Chloe, Stefano Pilati (Italian) at Yves Saint Laurent, Marc Jacobs (American) at Louis Vuitton, and Kenzo Takada (Japanese) and Alexander McQueen (English) at Givenchy (until 2001).

Cities and towns [edit]

Paris is a symbol of France and fashion, known for its cultural environment.

France is known as a country of luxury, fashion and beauty, with Paris as one of the globe's fashion capitals. It too 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 [edit]

Paris is regarded as the world manner capital, and spread throughout the city are many way boutiques. Most of the major French fashion brands, such as Chanel, Louis Vuitton, Dior, and Lacroix, are currently headquartered here. Numerous international manner labels as well operate shops in Paris, such every bit Valentino, Gucci, Loewe, Escada, Bottega Veneta, and Burberry, besides as an Abercrombie & Fitch flagship store which has become a principal consumer attraction. Paris hosts a fashion week twice a yr, similar to other international centers such as Milan, London, Tokyo, New York, Los Angeles and Rome.

The Artery des Champs-Élysées is the avenue of luxury and dazzler of France and is the location of many headquarters of upscale fashion, jewelry and dazzler houses. It is oftentimes compared with the 5th Avenue of New York City and the Avenue Montaigne, an adjacent avenue that is besides known for its prestigious fashion headquarters since the 1980s. The way houses take been traditionally situated since the 17th century in the quarter around the Rue du Faubourg Saint-Honoré. Other areas, such as Le Marais, a traditional Jewish quarter, take also included the clothing industry. The city's numerous fashion districts consolidate information technology equally a fashion uppercase.

Marseille [edit]

Marseille is a city of contrasts, which represents the antique and contemporary cities of France.

Marseille, the oldest and second largest city of France is well known for the principal port of the country and of the second Mediterranean, and quaternary of all Europe.

The city is affectionately called "The One-time 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 artery Canebière is called the "Champs Elysées of Marseille". Rue Paradis and the Rue Grignan are known for being the avenues of luxury in the urban center, holding high style boutiques such as Louis Vuitton, Hermès, YSL, Chopard, Kenzo, Tara Jarmon, Gérard Darel and many others. Local fashion and art make Kulte belongs to the French label Kaporal. The Rue de la Tour is called La Rue de la Mode ("The Fashion Street"), where the newest Marsellaises mode designers and artisans are supported by the metropolis regime, for creating and growing the mode industry in the metropolis. Some of the famous style houses here are Diable Noir and Casa Blanca.

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 [edit]

Lyon is a city in constant modernisation, symbol of the country.

A view of upscale Presqu'île neighborhood in Lyon.

Lyon, the third largest urban center of France, is a growing fashion industry center. Information technology has been the globe'south silk upper-case letter since the 17th century, with an of import textile manufacture and a strong fashion civilization. It is the 2d biggest luxury goods consumer of the state, with major streets and districts belongings houses of high fashion.^[32]

The Presqu'île is the upscale district of the city, containing luxurious malls, streets and avenue. The famous Rue de la République is compared with Avenue des Champs-Elysées of Paris.

The Rue Édouard-Herriot, the Avenue des Cordeliers Jacobines, the Place Bellecour among others, with elegant boutiques of Armani, Dior, Prada, Dolce & Gabbana, Calvin Klein, MaxMara, Armand Ventilo, Sonia Rykiel, and Cartier.^[33]

La Croix-Rousse is a fashion district heavily marked by the silk industry, and known for receiving government support for the newcomer way designers. The city is the habitation of the headquarters of international style 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 [edit]

Outside of the biggest cities, there are many "fashionable" cities and towns in French republic, there are way districts, avenues, streets, shopping malls and many places specialized for all the needs of client.

Cannes, Nice, St. Tropez and Monte Carlo, year past twelvemonth host thousands of socialites, artists, potentates and personalities who come up for events including the Cannes Film Festival and the NRJ Music Awards. For that reason, the fashion houses have taken reward of establishing boutiques in ostentatious districts of the French riviera, Bordeaux is classified "City of Art and History". The city is dwelling to 362 monuments historiques (only Paris has more in France) with some buildings dating back to Roman times. Bordeaux has been inscribed on UNESCO Earth Heritage List equally "an outstanding urban and architectural ensemble" and is the world'due south acme prime number wine tourism place, focus its luxury district effectually the Cours de l'intendance. Toulouse with pink and stylish architecture, Rennes with antique and medieval beauty (around the "rue de la Monnaie"), Nantes with its passage Pommeraye, Strasbourg offering French-German architecture and Lille's downtown in northward French republic holds several luxury houses.

Fashion shows [edit]

The Paris Way Week takes identify twice a year after the Milan Way Calendar week. Information technology is the final and usually the virtually anticipated city of the fashion month. Dates are determined past the French Manner Federation. Currently, the Style Week is held in the Carrousel du Louvre.

• Africa Fashion Week Paris
• Bordeaux Fashion Calendar week
• Aristocracy Model Wait
• Cannes-Nice Fashion Calendar week
• Bal des débutantes
• Lille Fashion Week
• Lyon Fashion Week (FashionCity Show)
• Marseille Manner Calendar week
• Nantes Fashion Week
• Rennes Manner Week
• Toulouse Fashion Calendar week
• Strasbourg Fashion Calendar week (EM Fashion Week)
• St. Tropez Way Calendar week
• Bound 2004 Dior couture collection

Monaco [edit]

Montecarlo Fashion Week (Fashion Fair Week)

Notes [edit]

1. ^ "Fashion". Gouvernement.fr . Retrieved 2018-ten-23 .
2. ^ "18th-century Paris: The uppercase of luxury". TheGuardian.com. 29 July 2011.
3. ^ Why is Paris the Capital of Fashion - LoveToKnow - Women's Fashion
4. ^ French fashion facts- Paris Digest
5. ^ Kelly, 181. DeJean, capacity 2–4.
6. ^ DeJean, pp. 35–6, 46–7, 95.
7. ^ DeJean, 48.
8. ^ Norberg & Rosenbaum p. XV; Introduction.
9. ^ ^{a b c d e f} Norberg & Rosenbaum, and various authors. (Norberg, Louis 14: King of Mode?, p. 135-65)
10. ^ Perez, Stanis (July–September 2003). "Les rides d'Apollon: l'évolution des portraits de Louis XIV" [Apollo's Wrinkles: The Evolution of Portraits of Louis XIV]. Revue d'histoire moderne et contemporaine. 50 (three): 62–95. doi:ten.3917/rhmc.503.0062. ISSN 0048-8003. JSTOR 20530984.
11. ^ In Norberg'south article, she references the idea that Louis Xiv'south portrayal in fashion portraits mirrors the utilize of notable fashion models of today in gild to sell wear and trends.
12. ^ Run across likewise Schmitter, Amy Grand. (2002). "Representation and the Body of Power in French Bookish Painting". Periodical of the History of Ideas. 63 (iii): 399–424. doi:10.1353/jhi.2002.0027. ISSN 0022-5037. JSTOR 3654315. S2CID 170904125.
13. ^ ^{a b c d} "Wearing apparel During Louis Fourteen, Louis XV, Louis XVI 1643-1789". world wide web.oldandsold.com.
14. ^ "Marie Antoinette Biography". Chevroncars.com. Archived from the original on 26 September 2011. Retrieved 17 July 2011.
15. ^ Fraser 2001, pp. 18, 160 harvnb error: no target: CITEREFFraser2001 (help); Lever 2006, pp. 63–five harvnb error: no target: CITEREFLever2006 (help); Lanser 2003, pp. 273–290 harvnb mistake: no target: CITEREFLanser2003 (assist)
16. ^ Johnson 1990, p. 17 harvnb error: no target: CITEREFJohnson1990 (help)
17. ^ Shovlin, John (2007). The political economy of virtue: Luxury, patriotism, and the origins of the French Revolution. pp. xv–xvi.
18. ^ Steele, Valerie (2017). Paris fashion: A cultural history. pp. 45–46.
19. ^ Steele, Valerie (2017). Paris style: A cultural history. Bloomsbury. pp. 47–48.
20. ^ "Reticule". Austentation: Regency Accessories . Retrieved 4 November 2012.
21. ^ Alfred Richard Allinson, The Days of the Directoire, J. Lane, (1910), p. 190
22. ^ Kelly, 101.
23. ^ Vaughan 2011, pp. 47, 79. sfn error: no target: v2011 (assist)
24. ^ ^{a b} Caroline Weber, "Fashion", in Dauncey (2003), pp. 193–95.
25. ^ ^{a b} Brubach, Holly (1995-03-12). "STYEL; Style Foreplay". The New York Times Magazine. p. 6006081. Retrieved 2018-11-27 .
26. ^ Weber, p. 196.
27. ^ Weber, p. 195.
28. ^ "Yves Saint-Laurent". Goodreads . Retrieved twenty May 2012.
29. ^ Yves Saint Laurent'southward body put to rest Archived 2014-10-29 at the Wayback Automobile Style Television.
30. ^ Weber, p. 198.
31. ^ "Marsella, aquella vieja dama del Mediterráneo". www.gusplanet.net.
32. ^ "Shopping & Fashion - Lyon Tourist Office and Convention Agency". www.en.lyon-france.com.
33. ^ ^{a b} "Archived copy". Archived from the original on 2013-07-03. Retrieved 2013-07-06 . {{cite web}}: CS1 maint: archived copy as title (link)

References [edit]

• Dauncey, Hugh, ed., French Popular Civilization: An Introduction, New York: Oxford University Printing (Arnold Publishers), 2003.
• DeJean, Joan, The Essence of Style: How The French Invented High Fashion, Fine Food, Chichi Cafés, Mode, Sophistication, and Glamour, New York: Costless Printing, 2005, ISBN 978-0-7432-6413-6
• Kelly, Michael, French Culture and Gild: The Essentials, New York: Oxford Academy Press (Arnold Publishers), 2001, (a reference guide)
• Nadeau, Jean-Benoît and Julie Barlow, Sixty Million Frenchmen Can't Exist Wrong: Why Nosotros Love French republic But Not The French, Sourcebooks Merchandise, 2003, ISBN 1-4022-0045-5
• Norberg, Kathryn & Rosenbaum, Sandra (editors), and various authors. Manner Prints in the Age of Louis 14 (Texas Tech University Press, 2014)

Further reading [edit]

• Bourhis, Katell le: The Age of Napoleon: Costume from Revolution to Empire, 1789-1815, Metropolitan Museum of Art, 1989. ISBN 0870995707
• Martin, Richard & Koda, Harold (1996). Christian Dior . New York: The Metropolitan Museum of Art. ISBN9780870998225. {{cite book}}: CS1 maint: multiple names: authors list (link)

External links [edit]

• 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 - fellow member way houses
• "Interactive timeline of couture houses and couturier biographies". Victoria and Albert Museum. 29 July 2015.
• News virtually French fashion industry FashionUnited
• French Fashion Guide French Fashion History

Share this post