Fashion PDF

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La mode n’est pas une idée neuve, elle répond à de multiples besoins : se couvrir, s’embellir, mais aussi – surtout ? – se situer dans la société. Elle est une expression de notre liberté ! Cet ouvrage nous propose d’aborder la mode sous un angle sociologique, pratique, mais aussi historique en revenant sur les dates, les personnages et faits marquants. L’auteure nous aide à décrypter différents styles contemporains, pour mieux apprendre à créer le nôtre. Elle évoque les liens entre cette forme de création, parmi les plus populaires du monde moderne, et d’autres domaines comme le cinéma, la musique, la communication et les nouvelles technologies.

Река Суойоки: почему её называют самой таинственной в России. Каким новорождённым девочкам на Руси отрезали пуповину на прялке. Нежные краски, легкие текстуры: тени для весеннего макияжа. От платья-футляр до тренчкота: семь базовых вещей, необходимых каждой моднице. Зто утепленная будка, установленная на автомобиль или прицеп. Все материалы опубликованные на сайте принадлежат их авторам и предназначены только для ознакомительных целей! Enter the characters you see below Sorry, we just need to make sure you’re not a robot.

Fashionable Londoners in front of Harrods, 1909. The trailing skirts and broad-brimmed hats of mid-decade are giving way to narrower dresses and hats with deep crowns. Men wear top hats with formal morning dress or bowlers with lounge suits. 1909 in the Western world continued the long elegant lines of the 1890s. Tall, stiff collars characterize the period, as do women’s broad hats and full « Gibson Girl » hairstyles. John Singer Sargent’s portrait of Miss Eden shows a fashionable full breast, low neckline, and mass of hair, 1905.

With the decline of the bustle, sleeves began to increase in size and the 1830s silhouette of an hourglass shape became popular again. The fashionable silhouette in the early 20th century was that of a confident woman, with full low chest and curvy hips. The « health corset » of this period removed pressure from the abdomen and created an S-curve silhouette. In 1897, the silhouette slimmed and elongated by a considerable amount. Blouses and dresses were full in front and puffed into a « pigeon breast » shape of the early 20th century that looked over the narrow waist, which sloped from back to front and was often accented with a sash or belt. Necklines were supported by very high boned collars.

Skirts brushed the floor, often with a train, even for day dresses, in mid-decade. The fashion houses of Paris began to show a new silhouette, with a thicker waist, flatter bust, and narrower hips. By the end of the decade the most fashionable skirts cleared the floor and approached the ankle. Women moving out of the Victorian era and into the Edwardian era were starting to dress for a more active lifestyle. The evolving times brought a new fashion trend known as the « New Woman ».

Tailored suits became more popular for the women that were beginning to work in white collar jobs. Tailored suits with no frills allowed for women maintaining an office job to seem more masculine and blend into the male dominated environment. Shortly the number of women attending colleges increased, and the shirtwaist became popular among the average college girl. Paul Poiret’s new silhouette of 1908 was a radical departure. Evelyn Nesbit, in this photograph taken in 1901, has some of her wavy hair swept up to the top of her head, with the rest of her hair flowing past her shoulders in curling tendrils.

Unfussy, tailored clothes were worn for outdoor activities and traveling. The shirtwaist, a costume with a bodice or waist tailored like a man’s shirt with a high collar, was adopted for informal daywear and became the uniform of working women. This decade marked the full flowering of Parisian haute couture as the arbiter of styles and silhouettes for women of all classes. The new styles featured form-fitting gowns with high or indefined waists, or ankle-length skirts and long tunic-like jackets, and required a different « straight line » corset. The dowdy voluminous clothes of the earlier date, making the grandmother an old lady and the mother seem plain, had been replaced by much simpler looser wear producing a sense of release for all three females.