Significance of Rectangular Shape in Fashion
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Unit of measurement four
NINETEENTH CENTURY
ane. Прочитайте следующие слова вслух и переведите их письменно:
modernity, exponentially, buttons, empire, significance, bustle, purity, inventions, silhouette, curiosity, bust, waist, buttocks, posterior, suppression, rear, pleats, flounces, bows, lieu, apron, polonaise, hips, upholstered, fascination, crinolines, pad, distinctly, medieval, medieval, sleeves, prominence, cravats, lace, inserts, trim, embroidery, tucks, pleats, tulip, collars, bell, suits, fashionable, applied, variation, ties.
2. Прочитайте и переведите следующие глаголы:
to patent, to return, to influence, to define, to amplify, to exploit, to exaggerate, to reduce, to gain, to embrace.
3. Подберите эквивалентный перевод словосочетаний из колонки A в колонке В.
4. Прочитайте и переведите текст.
NINETEENTH CENTURY
The 1800s were a time of modernity. The needle trade grew exponentially due to technological advances. Mass product was possible because of inventions like Elias Howe's sewing machine in 1846. Machines that specialized in sewing buttons making button holes, and knitting made large production runs a reality. Isaac Singer patented the commencement home-scaled sewing automobile and distributed it widely. At the same time, standard paper blueprint became available through mail order. Of bang-up significance, the first modernistic section store, the Magasin au Bon Marché, opened in Paris as early equally 1852; beyond the Atlantic, Wanamaker's opened in Philadelphia in 1861.
By the 1820s women's fashion had moved away from the classically influenced empire style and returned to the corseting and total skirts of the previous era. In the last quarter of the nineteenth century, notwithstanding, information technology was the bustle that defined fashion. The conservative Victorian era is known for a prudish societal focus on moral values, peculiarly female purity. Ironically, the fashionable silhouette of the day, although covering nearly of woman's body, amplified the hourglass proportions of the bust, waist, and buttocks, eroticizing and idealizing an extreme version of the feminine form. Some liken the allure of this extreme silhouette to the interest in a woman known every bit Saartjie "Sarah" Baartman, who was exploited as a sideshow allure called the Hottentot Venus. Baartman was considered an exotic marvel because of the exaggerated scale of her posterior in human relationship to the residue of the frame, a genetic characteristic of the Khoisan people of S Africa, in particular the women. Thus, a fascination with novelty and the uneasy suppression of sexuality could be seen to come together in the Victorian bustle.
The early bustle of 1870s tin can exist described in terms of the lightness of textile and lack of decoration. It was ofttimes created through the manipulation of the material that was draped in the rear, using pleats, flounces, and bows. The front of the silhouette had the appearance of an apron. For a brusque time, from 1878 to 1883, the bustle disappeared in lieu of a more natural, flat-backed clothes. The cuirass bodice, a long waisted bodice that extended beneath the hips, and the polonaise, a princess sheath dress, achieved this slim shape. The menstruum from 1883 to 1893 constituted the revival of the bustle. This new hurry had the look of an upholstered shelf, due to its large, near horizontal protrusion. Information technology was farther accentuated with heavier fabrics and more ornate ornamentation. By the end of the 1800s, though, the bustle had been reduced to a small-scale pad that carried into the Edwardian era.
Parallel to mainstream manner, a motion emerged in the 1860s and 1870s known as creative and, later, aesthetic dress. In protestation confronting crinolines and restrictive corsets, too as the thought of mass-produced wear, a group of artists, writers, and actors, nigh famously associated with Dante Gabriel Rossetti and William Morris, promoted this looser, distinctly maverick manner that embraced many medieval and Renaissance sensibilities.
With the decline of the hurry, sleeves gained more prominence, culminating in the mid-1890s with gigantic leg-o'muttons starting time by a tiny waist. The American artist Charles Dana Gibson captured the platonic in his satirical illustrations of the modern woman. Although she became an icon of the era, the "Gibson Girl" was meant to extravaganza the sense of competition, independence, and athleticism that defined this new woman – not necessarily traits that were encouraged for genteel ladies. The embellished blouse became a signature of the Gibson Girl, featuring details like lace inserts and trim, embroidery, appliqués1 1 [Закрыть] [Закрыть]
appliqué (фр.) – аппликация
faggoting – вышивание мережкой (узор образуется за счет собирания отдельных нитей в пучки)
(From the book "Form, Fit, and Style" past Jay Calderin)
5. Ответьте на вопросы:
→ What do y'all know almost Saartjie Baartman?
→ What do y'all know about Victorian era?
→ Can you describe way of the nineteenth century?
→ Who became an icon of the era in the end of the 19th century?
half-dozen. Переведите следующие предложения письменно.
1. В 1860-е годы в моду вошли кринолины из овальных обручей, которые создавали определенный силуэт юбки.
2. Он изменил пропорции платья с кринолином, предложив завышенную линии талии и отказался от пышных складок на талии.
3. Женский костюм имел профильный силуэт и множество драпировок.
four. Костюм стиля модерн постепенно изменялся, и становились модными съемные рукава до локтя из гипюра.
5. Характерной чертой силуэта женского платья является значительно расширенная, гротескная линия плеч вследствие очень пышных рукавов «фонарик».
7. Переведите следующие слова, используя пример: buttons, pleats, flounces, crinolines, embroidery, faggoting, tucks, collars, bows, cravats, ties, tulip, trim, blouse, sleeves, suits.
8. Прочитайте и переведите текст письменно.
OUTERWEAR
Riding habits consisted of a high-necked, tight-waisted jacket with the fashionable dropped shoulder and huge gigot sleeves, worn over a tall-collared shirt or chemisette, with a long matching petticoat or skirt. Tall peak hats with veils were worn.
Shawls were worn with short-sleeved evening gowns early in the decade, but they were non suited to the broad gigot sleeves of the mid 1830s.
Full-length mantles were worn to about 1836, when mantles became shorter. A mantlet3 3 [Закрыть] [Закрыть] [Закрыть] [Закрыть]
mantlet – мантилья (короткая накидка, короткий плащ)
burnous – бурнус (арабский плащ; просторное женское пальто)
paletot (фр.) ['pæltəu] – свободная, широкая верхняя одежда (пальто, накидка)
pardessus (фр.) [pardəsy] – пальто
For evening, voluminous mantles of velvet or satin, with fur trim or fur linings in cold climates were worn with the evening gown.
(From the Survey of Celebrated Costume past Tortora, Phyllis and Keith Eubank)
9. Составьте рассказ о моде 19 века, включающий в себя следующее:
→ Идеал красоты
→ Виды и формы одежды
→ Мужская одежда
→ Женская одежда
→ Обувь
→ Головные уборы, прически, украшения, косметика
Unit five
Early TWENTIETH CENTURY
1. Прочитайте следующие слова и словосочетания вслух и переведите их письменно:
extent, editors, trim details, assumptions, seamstresses, customers, competitors, hourglass-shaped style, assistance, conspicuous, consumption, incredibly, shorter-skirted, upholstered, painstakingly, unthinkable, hips, bosom, indispensable, ribbons, feathers, lace, pantaloons, turbans, evident, felt hats, soberly, superimposing, shimmers, flimsy, fluid lines, diaphanous, imperatives, headgear, immense, gossamery, clinging, sheath, shades, cochineal, devotees, engagements, circumstances, clouds of tulle, undulate, mid-calf, maid.
2. Прочитайте и переведите следующие глаголы:
to purchase, to define, to broaden, to devise, to emerge, to distinguish, to perched on.
iii. Подберите эквивалентный перевод словосочетаний из колонки A в колонке В.
4. Прочитайте и переведите текст.
Early TWENTIETH CENTURY
Throughout the early twentyth century, practically all high way originated in Paris and to a lesser extent London. Style magazines from other countries sent editors to the Paris fashion shows. Department stores sent buyers to the Paris shows, where they purchased garments to copy (and openly stole the style lines and trim details of others). Both fabricated-to-measure salons and readyto-clothing departments featured the latest Paris trends, adapted to the stores' assumptions almost the lifestyles and pocket books of their targeted customers.
At this time in style history the division between haute couture and ready-to-wear was not sharply divers. The 2 dissever modes of production were still far from being competitors and they often co-existed in houses where the seamstresses moved freely betwixt fabricated-to-measure out and ready-fabricated.
Around the get-go of the 20th century way style magazines began to include photographs and became even more influential than in the time to come. In cities throughout the world these magazines were greatly sought-after and had a profound consequence on public taste. Talented illustrators – amongst them Paul Iribe, Georges Lepape, Erté, and George Barbier – drew exquisite fashion plates for these publications, which covered the nearly recent developments in manner and beauty. Perhaps the most famous of these magazines was La Gazette du bon ton which was founded in 1912 by Lucien Vogel and regularly published until 1925.
1900s
The outfits worn by the stylish women of the 'Belle Époque' (equally this era was called by the French) were strikingly similar to those worn in the heyday of the mode pioneer Charles Worth. Past the end of the 19thursday-century, the horizons of the fashion manufacture had generally broadened, partly due to the more than stable and independent lifestyle many well-off women were beginning to adopt and the practical clothes they demanded. However, the fashions of the La Belle Époque all the same retained the elaborate, upholstered, hourglass-shaped style of the xixth century. Every bit of yet, no stylish lady could (or would) dress or undress herself without the help of a 3rd party. The abiding demand for radical modify, which is now essential for the survival of fashion inside the present organisation, was still literally unthinkable. The use of different trimmings were all that distinguished ane flavor from the other.
Conspicuous waste material and conspicuous consumption defined the fashions of the decade and the outfits of the couturiers of the time were incredibly extravagant, elaborate, ornate, and painstakingly fabricated. The curvaceous Due south-Bend silhouette dominated fashion upward until around 1908. The Due south~Bend corset was very tightly laced at the waist which forced the hips back and the drooping mono bosom was thrust forward in a pouter pigeon effect creating an S shape. Toward the cease of the decade the fashionable silhouette gradually became somewhat more direct and slim, partly due to Paul Poiret's high-waisted, shorter-skirted Directoire line of apparel.
The MaisonRedfern was the first fashion business firm to offer women a tailored suit based directly on its male person analogue and the extremely practical and soberly elegant garment soon became an indispensable office of the wardrobe of whatsoever well-dressed woman. Another indispensable office of the outfit of the well-dressed adult female was the designer lid. Stylish hats at the time were either tiny little confections that perched on summit of the head, or large and wide brimmed, trimmed with ribbons, flowers, and fifty-fifty feathers. Caroline Reboux, Legroux, and E. Lewis were the most soughtafter names of the time. Parasols were still used every bit decorative accessories and in the summer they dripped with lace and added to the overall elaborate prettiness.
(From the article "Style for all: why fashion, invented past kings, now belongs to all of united states of america" by McDermott, Kathleen)
5. Прочитайте и перескажите текст на русском языке.
1910s
Effigy. Dress designed by Paul Poiret
During the early years of the 1910s the fashionable silhouette became much more lithe, fluid and soft 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 faddy into the manner earth. Poiret's clients were at in one case transformed into harem girls in flowing pantaloons, turbans, and vivid colors and geishas in exotic kimono. Paul Poiret also devised the first outfit which women could put on without the help of a maid. The Fine art Deco motion began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Elementary felt hats, turbans, and clouds of tulle replaced the styles of headgear pop in the 20th century. It is also notable that the first real fashion shows were organized during this period in time, by Jeanne Paquin, i of the first female couturiers, who was also the first Parisian couturier to open strange branches in London, Buenos Aires, and Madrid.
2 of the virtually influential mode designers of the time were Jacques Doucet and Mariano Fortuny. The French designer Jacques Doucet excelled in superimposing pastel colors and his elaborate gossamery dresses suggested the Impressionist shimmers of reflected calorie-free. His distinguished customers never lost a sense of taste for his fluid lines and flimsy, diaphanous materials. While obeying imperatives that left little to the imagination of the couturier, Doucet was nevertheless a designer of immense taste and bigotry, a role many have tried since, but rarely with Doucet's level of success.
The Venice-based designer Mariano Fortuny y Madrazo was a curious figure, with very few parallels in any age. For his dress designs he conceived a special pleating procedure and new dyeing techniques. He gave the name Delphos to his long clinging sheath dresses that undulated with colour. Each garment was made of a single piece of the finest silk, its unique color caused past repeated immersions in dyes whose shades were suggestive of moonlight or of the watery reflections of the Venetian lagoon. Breton straw, Mexican cochineal, and indigo from the Far East were amid the ingredients that Fortuny used. Amid his many devotees were Eleanora Duse, Isadora Duncan, Cleo de Merode, the MarchesaCasati, Emilienned'Alençon, and Liane de Pougy.
Changes in apparel during Earth War I were dictated more by necessity than fashion. Every bit more and more women were forced to work, they demanded clothes that were improve suited to their new activities. Social events had to exist postponed in favor of more pressing engagements and the demand to mourn the increasing numbers of dead, visits to the wounded, and the full general gravity of the fourth dimension meant that darker colors became the norm. A new monochrome wait emerged that was unfamiliar to young women in comfy circumstances. Past 1915 fashionable skirts had risen above the ankle and then later to mid-calf.
(From the book "Paris fashion: a cultural history" by Steele, Valerie)
6. Ответьте на вопросы:
→ Who developed a dress that could be put on without whatsoever assist of a maid?
→ What silhouette dominated in the beginning of 20 century?
→ How did Jacques Doucet accomplish success in way?
→ Who made dresses from a unmarried slice of the finest silk?
→ How did the Globe War I influence the evolution of fashion?
→ How does the length of skirts change?
7. Переведите следующие предложения письменно на английский язык.
→ В годы первой мировой войны произошла реформа костюма.
→ Реформа костюма предполагала создание практичной, не стесняющей движений одежды, упразднение корсетов, укорочение длинных юбок.
→ С началом войны Дома мод были закрыты, и эта реформа происходила стихийно.
→ Уже в первый год войны длина женских платьев доходила до щиколотки, затем до середины икры.
→ Для одежды того времени характерны мягкие линии силуэта, умеренные объемы.
→ Главной чертой моды этих лет была свобода формы.
→ Для этого периода был характерен овальный силуэт в одежде.
eight. Составьте рассказ о модных тенденциях в период первой мировой войны.
Unit half dozen
GOLDEN Age OF FRENCH Way
one. Прочитайте следующие слова вслух и определите их значение:
radical, pinafores, reluctant, androgynous, embroidery, lingerie, advocate, relaxation, knickers, inches, magnetic, trademarks, influential, notably, flapper, simplicity.
2. Прочитайте и переведите следующие глаголы:
to adopt, to foreshadow, to approach, to diversify, to characterize, to satisfy, to abandon.
three. Подберите эквивалентный перевод словосочетаний из колонки A в колонке В.
4. Прочитайте и переведите текст.
1920s
Soon after the Commencement World War, a radical change came almost in mode. Bouffant coiffures gave way to brusk bobs, dresses with long trains gave way to above-the-knee pinafores. Corsets were abandoned and women borrowed their apparel from the male wardrobe and chose to apparel like boys. Although, at first, many couturiers were reluctant to adopt the new androgynous style, they embraced them wholeheartedly from effectually 1925. A bust less, waist less silhouette emerged and aggressive dressing-down was mitigated by feather boas, embroidery, and showy accessories. The flapper manner (known to the French as the 'garçonne' await) became very popular amongst immature women. The cloche hat was widely-worn and sportswear became pop with both men and women during the decade, with designers like Jean Patou and Coco Chanel popularizing the sporty and athletic look.
The swell couturier Coco Chanel was a major effigy in mode at the time, every bit much for her magnetic personality as for her chichi and progressive designs. Chanel helped popularize the bob hairstyle, the little black dress, and the use of bailiwick of jersey knit for women's clothing and also elevated the status of both costume jewelry and knitwear.
Two other prominent French designers of the 1920s were Jeanne Lanvin and Jean Patou. Jeanne Lanvin, who began her career in mode as a milliner, made such beautiful outfits for her immature girl Marguerite that people started to ask for copies, and Lanvin was before long making dresses for their mothers. Lanvin'due south name appears in the fashion yearbook from nigh 1901 onwards. However, it was in the 1920s that she reached the peak of her popularity and success. The Lanvin style embraced the look of the time, with its skillful use of circuitous trimmings, dazzling embroideries, and beaded decorations in lite, articulate, floral colors that eventually became a Lanvin trademark. Past 1925 Lanvin produced many different products, including sportswear, furs, lingerie, men's style, and interior designs. Her global approach to manner foreshadowed the schemes that all the large contemporary manner houses would after prefer 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 Cubist motifs, and mixture of luxury and practicality, were designed to satisfy the new vogue for the outdoor life, and diameter a remarkable similarity to modern sportswear. The about famous abet of his way was Suzanne Lenglen, the legendary tennis champion.
Effigy. Fashionable Hollywood actress Louise
In menswear there was a growing mood of informality, among the Americans especially, which was mirrored in fashions that emphasized youthfulness and relaxation. In the past, there was a special outfit for every result in the well-dressed gentleman's day, but young men in the 1920s, no longer afraid to show their youthfulness, began to wear the same soft wool suit all twenty-four hour period long. Short suit jackets replaced the old long jackets of the by which were now only worn for formal occasions. Men had a diversity of sport dress bachelor to them, including sweaters and short pants, commonly known as knickers. For evening wear a short tuxedo was more than fashionable than the tail-glaze, which was now seen as somewhat old-fashioned. The London cut, with its slim lines, loose-fitting sleeves, and padded shoulders, perfected by the English tailor Scholte, was very popular. Off-white Isle patterns became very popular for both sexes. Heels, at the time, were frequently over ii inches high and helped popularize the two-tone shoe its 1 of her trademarks. Salvatore Ferragamo and André Perugia were two of the near influential and respected designers in footwear. Many stars of the silent films had a meaning impact on fashion during the 1920s, perhaps most notably 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 than conservative fashion. While the flapper await persisted into 1930, information technology quickly disappeared afterwards, although bong-shaped hats lasted through 1933.
(From the book "Paris fashion: a cultural history" past Steele, Valerie)
five. Ответьте на вопросы:
→ Can you describe changes in fashion subsequently the World War I?
→ What style become very popular?
→ What new tends did Chanel bring in fashion?
→ Who worked in geometric and Cubist motifs?
→ What kind of clothes did men vesture?
→ What type of clothes were seen old-fashioned for evening wear?
→ Who popularized the 2-tone shoe?
6. Переведите следующие предложения на английский язык.
→ В послевоенный период главным направлением в искусстве был конструктивизм.
→ Костюм 30-х годов олицетворял новый идеал красоты своим кубическим силуэтом, полученным от архитектурных форм и предметов быта.
→ Цветовая гамма выдержана в одном тоне – сером, бежевом, медном, белом и черном.
→ Идеальный внешний облик 30-х годов – стройная фигура с узкой талией и бедрами, плоской грудью, пушистой перманентной завивкой.
7. Прочитайте, переведите текст письменно и озаглавьте его.
Set-to-article of clothing or prêt-à-porter oftentimes abbreviated RTW; «offthe-rack» or «off-the-peg» in casual utilise) is the term for factory-made clothing, sold in finished condition, in standardized sizes, every bit distinct from made to measure or bespoke clothing tailored to a particular person'due south frame. Off-the-peg is sometimes used for items which are not clothing, such as handbags.
Ready-to-wear has rather unlike connotations in the spheres of fashion and classic clothing. In the fashion industry, designers produce ready-to-clothing habiliment intended to exist worn without pregnant alteration, because habiliment made to standard sizes fits nigh people. They employ standard patterns, manufactory equipment, and faster construction techniques to keep costs depression, compared to a custom-sewn version of the same item. Some fashion houses and style designers produce mass-produced and industrially manufactured ready-to-habiliment lines, while others offer garments that, while not unique, are produced in limited numbers.
8. Перескажите текст упражнения four, используя фразы в приложении.
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