Fashion development in Britain and London. Dandy

Министерство образования и науки Российской Федерации

Стерлитамакский филиал

Федерального государственного бюджетного

Образовательного учреждения

Высшего профессионального образования

«Башкирский государственный университет»

Филологический факультет

Кафедра германских языков

“Fashion evolution in Britain”

Выполнил: студент 1 курса

Группы Z4ИН11

Бурангулова А.С.

Проверила: старший преподаватель

Микаилова Н.Г.

Стерлитамак 2014

Plan

Introduction. 3

1. Fashion development in Britain and London. Dandy. 3

2 Fashion of the 1920s 5

2.1 Ladies fashion of the 1920s. 5

2.2 Men’s fashion of the 1920s. 7

2.3 Fashion of the 1930s 9

2.3.1 Men’s fashion of the 1930s. 9

2.3.2 Ladies fashion of the 1930s. 11

2.4 Fashion of the 1940s 13

2.4.1 Men’s fashion of the 1940s. 13

2.4.2 Ladies fashion of the 1940s. 14

2.5 Fashion of the 1950s 14

2.6 1970s Punk Fashion 17

2.7 1980 New Romanticism 18

2.9 Fashion after 1990s 19

3. London is a leading centre of a fashion in Britain 20

3.1 Fashion houses in london 20

3.1.1 Name of a fashion house. 20

3.1.2 Fashion house of Alexander McQueen. 21

3.1.3 The British fashion house of Paul Smith. 22

3.1.4 Julien Macdonald..22

Conclusion. …23

References…………………………………………………...……………………24

Introduction

The British style is one of the cultural signposts of the 90's. And not only in fashion but also in film, art, music. The UK remains an important export market for the Danish textile and clothing industry. Great Britain is the 3rd largest clothing market in Europe and is worth well over £30 billion. There are more than 60 million consumers spending approximately 5% of their salary on clothing.

In a fairly literal translation from its French and Latin origins, the word fashion describes the make or cut of an item, the forming of its shape. However, over the centuries, the word has acquired a specific association with the design, making, and wearing of clothing. Fashion now implies an awareness of and a desire to be at the forefront of changes in styles of dress and personal appearance.

Fashion development in Britain and London. Dandy

A dandy (also known as a beau, gallant or flamboyant person) is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies. Historically, especially in late 18th- and early 19th-century Britain, a dandy, who was self-made, often strove to imitate an aristocratic style of life despite coming from a middle-class background.

Given these connotations, dandyism can be seen as a political protestation against the rise of egalitarian principles — often including nostalgic adherence to feudal or pre-industrial values, such as the ideals of "the perfect gentleman" or "the autonomous aristocrat".

Though previous manifestations, of Alcibiades, and of the petit-maitre and the muscadin have been noted by John C. Prevost, the modern practice of dandyism first appeared in the revolutionary 1790s, both in London and in Paris. The dandy cultivated skeptical reserve, yet to such extremes that the novelist George Meredith, himself no dandy, once defined "cynicism" as "intellectual dandyism"; nevertheless, the Scarlet Pimpernel is one of the great dandies of literature. Some took a more benign view; Thomas Carlyle in his book Sartor Resartus, wrote that a dandy was no more than "a clothes-wearing man".

Charles Baudelaire, in the later, "metaphysical," phase of dandyism defined the dandy as one who elevates asthetics to a living religion, that the dandy's mere existence reproaches the responsible citizen of the middle class: "Dandyism in certain respects comes close to spirituality and to stoicism" and "These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking.... Contrary to what many thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of his mind."

The model dandy in British society was George Bryan "Beau" Brummell (1778-1840), an undergraduate student at Oriel College, Oxford, and an associate of the Prince Regent: ever unpowdered, unperfumed, immaculately bathed and shaved, and dressed in a plain, dark blue coat, perfectly brushed, perfectly fitted, showing much perfectly starched linen, all freshly laundered, and composed with an elaborately knotted cravat. From the mid 1790s, Beau Brummell was the early incarnation of "the celebrity," a man chiefly famous for being famous--in his case, as a laconically witty clothes-horse.

By the time Pitt taxed hair powder in 1795 to help pay for the war against France, Brummell had already abandoned wearing a wig, and had his hair cut in the Roman fashion, "à la Brutus". Moreover, he led the transition from breeches to snugly tailored dark "pantaloons," which directly led to contemporary trousers, the sartorial mainstay of men's clothes in the Western world for the past two centuries. In 1799, upon coming of age, Beau Brummell inherited from his father a fortune of thirty thousand pounds, which he spent mostly on costume, gambling, and high living. In 1816 he suffered bankruptcy, the dandy's stereotyped fate; he fled his creditors to France, quietly dying in 1840, in a lunatic asylum in Caen, just before age 62.

Men of more notable accomplishment than Beau Brummell also adopted the dandiacal pose: George Gordon Byron, 6th Baron Byron occasionally dressed the part, helping re-introduce the frilled, lace-cuffed and lace-collared "poet shirt." In that spirit, he had his portrait painted in Albanian costume.

Another prominent dandy of the period was Alfred Guillaume Gabriel d'Orsay, the Count d'Orsay, who had been friends with Byron and moved in the highest social circles of London.

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