All of the Empowering Moments at Fashion Week Spring 2019

The latest summer fashion trends for women in

That was our first clue that this seasoned trend is still going strong. Home Design Blog Design.

Sep 08,  · NEW YORK, NY - SEPTEMBER Christina Aguilera posese backstage at the Christian Cowan Show during New York Fashion Week at Gallery II at Spring Studios on September 8, in New York City.
Spring in three words? Feel good fashion. Phoebe Philo summed up the beatific mood: “If there is anything to say at the moment, let it be with love. Let it be joyful.” That translated literally as clothes to party in – sparkles, tassles, feathers – and to wiggle in – pencil skirts, sheer layers, fantastic plastics.
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includes rugs for cattle and horses and for Sharlea sheep in sheds. For dogs there is a great variety of decorative clothing limited only by the imagination of the owner.
directives west focuses on major trends for spring/summer los angeles designers show at art hearts fashion during new york fashion week. academy of art university students shake it up during nyfw.
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Sep 08,  · NEW YORK, NY - SEPTEMBER Christina Aguilera posese backstage at the Christian Cowan Show during New York Fashion Week at Gallery II at Spring Studios on September 8, in New York City.

In the taiga zone, the clothing is loose and opens in front for example, among the Evenki and the Yakuts. Unique garments made of suede, chamois, or tanned leather appeared among the Indians of the North American forest zone: Thus, in early antiquity a type of clothing suitable for horseback riding developed among nomadic peoples who engaged in stock raising.

Both the men and the women wore robes and wide trousers. As society became more complex, differences in social and familial positions increasingly influenced clothing. Everyday, festive, wedding, and mourning clothes appeared. As labor became more diversified, various types of occupational garments developed.

In the early stages of history, clothing reflected ethnic clannish and tribal traits, and subsequently general national characteristics, including local variants, were reflected. As a rule, the socioeconomic inequality of various classes manifested itself in clothing. Thus, there were sharp differences in the material, the ornamentation, and, often, the style of the clothing of feudal lords, peasants, and clergymen. The distinctive features of clothing as a type of decorative-applied art are conditioned, for the most part, by the fact that man himself is part of the ensemble.

Forming a visual whole with its wearer, a garment cannot be separated from its function. In the design of clothing, these features may be emphasized or, on the contrary, softened. Because clothing is a means of embodying the ideals of one epoch or another, it is created within the context of the prevalent artistic style and fashion.

Clothing and accessories that are executed in a unified style and are artistically harmonious create an ensemble, or costume. Clothing design involves the combination of parts to form a harmonious whole. The principles of symmetry versus asymmetry and nuance versus sharp contrast are used, and rhythms are varied.

The scale of a garment and its parts in relation to a person also plays a role. Other artistic considerations are texture, color, pattern, and trimming ribbons, lace, fur, buttons, buckles, and clasps.

This creates dynamic links among all the compositional elements of a particular article of clothing. History of clothing styles. Ancient Egyptian clothing was among the earliest types of dress to be influenced by aesthetic norms. In the Middle Kingdom, circa to circa B. Draped garments were popular. The New Kingdom, circa to circa B.

As a result, pleated garments became widespread. The expressiveness of the pleats lay in the inherently dramatic precision of straight lines. The kalasiris evolved into a skirt with suspenders. Clothing made of variously colored fine fabrics, often decorated with embroidery, was the privilege of the ruling class.

Slaves wore clothing made of rough sackcloth or leather. In ancient Greece the principal garments worn by men and women were the chiton and the himation a rectangualar piece of material worn only by the free classes. Such garments imparted to the wearer the appearance of stately simplicity.

Despite its picturesque, changing play of light and shadow, ancient Greek clothing maintained a precision of compositional design, which was accentuated by clasps or belts. Slaves usually wore an exomis, a piece of simple coarse fabric, fastened at the waist and the left shoulder by tapes.

Footwear consisted of sandals with straps wound high up the calf or shoes made of colored leather and decorated with embroidery. Draped clothing prevailed in ancient Rome, as it had among the Greeks tailored clothing was still poorly developed. However, Roman dress was more bulky. The principal masculine outer garment for free citizens was the toga, a semicircular or oval piece of material.

The undergarment worn by both men and women was the tunic. Women wore a stola a wide, long chitonlike garment and a pallium similar to the himation over the tunic. In Byzantium, with the assertion of religious asceticism and the loss of interest in three-dimensionality in the plastic arts, aristocratic clothing, which had preserved elements of Roman costume, became rigid and columnar, flattening and straightening the form of the body. The fabrics, mostly silks and brocades, were thick and heavy and were marked by large, flat patterns.

The numerous tribes that settled in Europe after the fall of the Roman Empire in the fifth century had a different approach to clothing.

For them, a garment was not supposed to simply drape the body but rather to reproduce its forms, thereby enabling a person to move easily. Thus, the principal attire of the peoples who advanced from the north and east consisted of crudely woven trousers and shirts.

The trousers were the forerunners of hose, which occupied a central position in European attire for several centuries. Because so little clothing from the Romanesque period has survived, it is difficult to assess the variety of forms of European clothing during that era. However, much is known about French Romanesque costume, which was marked by restraint and simplicity of form.

The costume of feudal lords developed under the influence of knightly armor and included short braies breeches and a chainse under tunic. A long, narrow garment bliaut with long slits on the sides was worn over the chainse. The bliaut and the chainse were made from fabrics of different colors. The outer garment was a cloak. In Western Europe during the 14th and 15th centuries, achievements in draftsmanship led to the creation of all kinds of cut work, which are used to this day.

The improvements in cutting were also facilitated by a better understanding of the plastic properties of fabrics and the dependence of the form of a garment on the arrangement of its threads. These achievements played a major role in the creation of clothing for feudal lords and burghers that was carefully designed and had an elegant silhouette.

Masculine attire of the period consisted of a shirt; a narrow, sleeveless undercoat; and tight hose. The hose were attached to the undercoat with strings. Outer clothing, which consisted of the cote-hardie a long, low-belted coat and the jacket short coat , was close fitting and emphasized the waist. A sharply pointed low neckline, which made the figure thinner, was set off by a wide collar; long, narrow sleeves; and an asymmetrically draped from the left side only skirt that was wider toward the bottom and formed a long train in the back.

The figure appeared more flexible and dynamic, owing to the elongated proportions of the clothing, the sharply pointed footwear, and the high, coneshaped headgear among women it reached 70 cm in height. Peasant clothing was also influenced by the Gothic style; however, the coarse cloths from which it was made resulted in baggy clothing with different proportions.

The differences between the clothing of burghers and that of peasants subsequently became greater. In Renaissance Italy the silhouette of clothing underwent substantial changes by the end of the 15th century. Both masculine and feminine attire were characterized by large, tranquil forms, whose proportions imparted qualities of stability and monumentality to the figure.

A weighty quality was imparted to the female figure by thick and heavy fabrics for example, satin and velvet in aristocratic clothing. The density of the fabrics was emphasized by their rich red, green, and blue colors. Beginning in the 16th century, Spanish dress, employing stiffened linings and metal corsets, served as a model for European clothing.

Masculine attire included the ropillo a long coat with folding, false sleeves , the calces short breeches , and the jubón a bodice. The jubón had a basque and a high, erect collar, which was replaced at the end of the 16th century by a wide, goffered collar.

These garments had a double lining, filled with cotton padding or horsehair. The lining restricted movement, thereby emphasizing the stiff manner in which the Spanish grandees held themselves. The principal outer clothing consisted of cloaks of various shapes and sizes. A low, flat beret was worn, which was replaced in the midth century by a high hat. Such garments resembled geometric clothing trunks. During the 17th century, with the flourishing of absolutism, France achieved the dominant position in fashion.

Luxurious, lavishly ornamented aristocratic clothing was produced, which was entirely subject to the etiquette of the royal court. During the first half of the 17th century, masculine court attire, which had become much less stiff, consisted of a pourpoint a kind of doublet similar to the Spanish jubón but with a turned-down collar , chausses simple knee pants , silk stockings, and boots or a kind of slippers with heels.

By the midth century, the pourpoint had been replaced by a small short-sleeved waistcoat; the shirtsleeves protruded from the waistcoat and were fastened by ribbons. Over the short chausses a type of wide pants the men wore rhinegraves , which were as wide as a skirt and fringed along the bottom. An abundance of fabric, ribbon, and lace concealed the outlines of the figure, transforming the costume into a continuous play of color, light, and shadow characteristic of the late baroque.

The bourgeoisie attempted to imitate the fashions of the court. By the end of the 17th century, emphasis on a narrow waist held in by a metal corset created a contrast between the geometrically rigid bodice, which was narrower toward the bottom, and the soft, full sleeves and skirt. Thus, the classical principle of clarity of design found original expression.

The women no longer wore corsets, and their costume was noted for the whiteness of the apron and cap. Although 17th-century urban dress was similar throughout Europe, the various countries worked out distinctive design solutions.

Within the bourgeois circles of England, Puritanism influenced the development of a costume with practical, moderately sized forms marked by the refinement of classically austere lines. In the 18th century, the development of a characteristically European urban costume proceeded with particular intensity.

The model for all Europe remained the French costume, which in turn was influenced to some extent by English clothing. Only the silhouette and a few details were changed. Such designs were influenced by the rococo style.

With time there arose a striving for a refined, austere silhouette—a striving associated with a new stage in classicist art. The fancy coattails of the habit were reduced, and the sides of the garment were smoothly tapered toward the bottom. During the second half of the 18th century, numerous kinds of outerwear developed.

Prototypes of 19th- and 20th-century overcoats appeared. These included the redingote or riding coat—long frock coat and the carrick a double-breasted garment with two or three shoulder capes , both of which originated in England. In the late 18th century, clothing was made primarily of woolens, characterized at first by light, soft colors and later by dark, somber tones. The 18th-century aristocratic woman still wore a hoop, or pannier a basket with a hair or linen covering , but now a dynamic costume was created.

The refined, sensual character of female attire reflected rococo aesthetics. Attention was concentrated on the face, neck, and hands, which seemed frail and delicate among lace flounces.

The waistline was slightly fitted in front but disappeared in back in broad folds of freely falling fabric that formed a train. Mobile and filled with the play of light and shadow, this mass of fabric, or bustle, contrasted with the smooth skirt that rested freely on the pannier. The folds of the bustle created a dynamic, wavelike effect when the woman walked. Lightweight fabrics, for example, taffeta and fine satin, were used.

Dresses were in soft pastels yellow, light blue, green and had small designs bouquets, garlands, flowers. The light colors harmonized with the white stockings and with the delicate, light-colored footwear on high, curved heels.

The pannier went out of use, and tranquil lines predominated. The costume of the Jacobins, which appeared during the Great French Revolution, played a major role in the development of 19th-century masculine dress. The Jacobins wore long pants, a carmagnole, a shirt frequently with a loose scarf-type necktie , and the bonnet rouge. The classicist trend subsequently led to the adoption of types of Greco-Roman clothing and, later, to the creation of original forms based on them.

The waistline was high, and the long skirt was narrow in front and had a freely flowing train. The dresses were usually made of fine, white cotton muslin and were worn with colored woolen shawls, which had the same function as the himation and pallium. The formation of a standardized European urban costume was completed in the 19th century.

The mass production of inexpensive clothing made fashionable attire accessible to the broad strata of urban and, beginning around , country dwellers. Changes in fashion principally affected female dress. The important role of the businessman in bourgeois society influenced masculine attire during the 19th century. In the first half of the century, the costume worn by businessmen was made of woolen fabrics and was restrained in color.

It included a redingote, a waistcoat, and long trousers. A tailcoat, worn with light-colored pants and a waistcoat, served as everyday clothing. Integral elements of the costume were the top hat and gloves. A classical simplicity and austerity of line were characteristic of masculine attire worn during the first decade of the 19th century. These included elements of medieval costume, such as the narrow waistline and sleeves that were puffed toward the top. Elements associated with the aesthetic traditions of the feudal past—the ruched and lacy shirt and the brocaded waistcoat—disappeared almost completely.

It was worn with black and gray-striped trousers. The tailcoat became a very formal garment—a sign of privilege enjoyed by rich people. A simple, loose-fitting jacket served as informal wear. The jacket, waistcoat, and trousers formed the classic suit. The top hat was replaced by a felt hat or the narrow-brimmed bowler; in the summer, straw hats boaters were worn. The dresses were later made of heavyweight, dense fabrics, which imparted to the silhouette a particular linearity.

The very narrow waist, held in by a corset, descended to its natural position and contrasted with the wide sleeves and skirt. Heelless slippers with squared toes, which made the feet seem smaller, became fashionable. The artistic crisis experienced by the applied arts during the second half of the 19th century manifested itself in clothing in a striving for decorative effects and a popularity of pseudostyles, especially pseudo-rococo. Once again, a hoopskirt—the crinoline—was worn.

At the same time, the liberation from strict stylistic norms made possible a wider search for new forms that met the demands of the bourgeoisie for convenience and practicality. Fashion was principally dictated by the artist-designer C. Worth, who established in Paris the first fashion house, or couturier. A short overskirt, or tunic, was worn, whose movement in the back began at one point and was emphasized by a bow and a bustle.

The bustle ended in a train. This rhythmic design, which imparted to the costume a dynamic sharpness, was an artistic achievement of the period. A costume without a train for street wear and traveling came into being. The popularity of practical, modest, and simple clothing resulted primarily from the entry of women into the world of business. The low artistic quality of clothing during the period was reflected in complicated lines, crude trimmings, piling up of forms, and poor design. The skirt was flared toward the hem, and the corset gave the figure an S-shaped look.

Informal dinner attire no longer included the tailcoat but consisted of a single-breasted jacket with silk lapels. In the second decade of the 20th century, most men wore ready-made, standardized suits.

During World War I —18 , masculine attire included high-buttoned jackets, jodhpurs, and leggings, which replaced knee boots. Garments were lighter and softer. Rag Ian sleeves, primarily in overcoats, appeared, as did trousers that were tapered toward the bottom. Features of sports clothing were used more widely. They included comfortable sports jackets, short outer jackets, pullover sweaters, lightweight jackets, stretch pants, bright summer shirts, and business suits with refined contours.

During World War I, practical work clothes—the blouse and skirt ensemble and the shortened dress worn without a corset—were prevalent. Women wore a short chemise dress often with a low belt , whose trimmings, frequently embroidery, accentuated the principal lines of design. Stockings became an important component of such costumes. However, features adapted from military uniforms, such as squared shoulders, created some dissonance.

Feminine footwear was sharply pointed and had spike heels. The lines of the cut dominate the general design solution, and the seams are included in the composition as decorative elements.

Slacks were frequently worn in place of skirts. It is precisely in this diversity that designers recognize the possibility of individualizing costume, which they do by assembling standard elements in various ways.

Russian boots became the most fashionable winter footwear. The similarity of the design for both sexes led to the creation of almost identical articles, in terms of fabric and detail. The fashion center of the world continues to be France, where the principal contemporary houses of fashion are located. These couturiers bear the names of their creators—the designer-entrepreneurs G. Nevertheless, since , French designers have encountered competition from firms in Great Britain M.

With the acceptance of Christianity at the end of the tenth century, the princes adopted Byzantine costume as ceremonial wear. However, a certain originality of cut was introduced to the costume, and the decoration was less lavish. Masculine peasant attire consisted of a coarse, sackcloth shirt, woolen trousers, bast shoes, and onuchi cloths wrapped around the feet. A narrow belt, embellished with patterned metal spangles, added a decorative touch to the stylistically simple ensemble.

A shuba and a sharply pointed fur hat served as outer clothing. The dress of the Kievan princesses closely resembled Byzantine attire, but the impression of a rigid trunk was avoided by the use of softer fabrics. The principal article of clothing among urban and peasant women was the chemise. An ubrus decorative kerchief served as the head covering. The most frequently used materials were sackcloth canvas and woolens, which often had printed patterns. The garments were made of sumptuously colored fabrics and decorated with lavish raised embroidery and pearls.

Wooden buttons covered with fabric and sewn with silk thread were used, as were gold buttons embellished with enamel or stones.

The seams of the shirt were covered by narrow strips of red fabric. A kolpak a conical or oval hat was worn on the head. The boyars wore high, cylindrical hats made from fox. The costume of princesses and boyar women consisted of a fine, white linen chemise, over which was worn a garment of colored silk. Sarafans sleeveless garment worn over a chemise with sleeves were also popular.

Outer garments were flared at the bottom and had extremely long sleeves. They included a telogreia a small, lined shuba with a standing collar and a letnik the most formal outer wear.

The letnik differed from the telogreia in that it had copiously embroidered pieces of fabric, known as voshvy , inserted into longitudinal slits in the sleeves. Various types of headgear were worn, including the kichka with soroka a beaded cap decorated with a length of embroidered fabric and the kokoshnik a headdress characterized by its distinctive crest.

The most popular footwear among city dwellers consisted of colored boots, which were often embroidered. The boots had heels and pointed toes bent upward. The introduction of foreign clothing into Russia, which had begun in the late 17th century, was accelerated at the beginning of the 18th century by the reform of Peter I, who decreed the replacement of Russian dress by the general European costume then in fashion.

Such European dress became a permanent part of aristocratic life. However, traditional Russian clothing continued to be worn among the peasantry and most of the urban population.

The Europeanization of the urban costume was particularly noticeable during the 19th century. Floral and checkered patterns combine to result in a gender neutral style. You can add this cottage-chic look with a simple change of throw pillows, some fun new curtains or maybe a soft throw over the arm of the sofa. The options are endless with this popular print!

Subtle Western accents are everywhere right now, and this trend is surprisingly easy to incorporate. We recommend pairing more modern, sleek pieces with a cowhide rug, accessorizing with Southwestern patterns, or hanging a chic conversation piece above the mantel as seen here. This otherwise traditional tableau is accented with a mid-century modern piece of art on a peach wallpaper background.

Graphic and floral pillows enhance the transitional white sofa. Usually a popular color choice in the summer months, citrus hues are breaking the mold and getting some early recognition this year. A Citrus-Inspired Spring Tablescape. Take a look back at our past posts, from entertaining and design trends to up-and-coming HGTV shows.

Home Design Blog Design. Pinterest Facebook Twitter Email. Color-Blocked Drapes in Modern Bedroom In the master bedroom, color-blocked drapes have a strong personality that's softened by playful art. Neutral Contemporary Living Room With Orange Rug A beach house living room goes contemporary and sophisticated with clean-lined, natural fiber furniture and a soothing gray and orange palette. White Bedroom With Gold Accents A vintage brass chandelier and light gold headboard soften the graphic wallpaper in this sophisticated bedroom.

Cottage Bedroom Detail With Pink Tulips Fresh flowers and personal touches like the framed photograph add a laidback feel to this cottage style bedroom. White Living Room With Marble Fireplace Check out this striking white living room with western accents and a marble fireplace. Mid-Century Modern Wall Art With Eclectic Decor This otherwise traditional tableau is accented with a mid-century modern piece of art on a peach wallpaper background. How to Help Your Plants Protect trees, shrubs, flowers and veggies from late spring frosts and freezes with these tried-and-true tips.

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