Vogwe’s 1914 “fashion fête” represents
one significant moment in this process of emancipation, featuring, as it
did, for the first time the fashions of American designers in its shows.
Nancy Troy describes the effects: “Even Vogue acknowledged that the
success of this highly visible series of performances, with their theatrical
setting and valuahle stamp of approval, gave Americans confidence
in their own taste and their ability to meet the demand for fashionable
clothing. All this translated into sales for American dress makers, most
of which would have gone to French couturiers” (Troy 2001: 277). This
development continued throughout the 1920s and though Vogue continued
to focus on Erench design in the layout of the magazine and its
cover, its fashion news coverage of the 1920s showed growing interest
in New York fashion: “New York assumed a new confidence in itself
as a center of art, culture and fashion, and finance in the 1920s (David
2006: 32). This trend was also visible in the behavior of the new generation
of wealthy American fashion consumers, who, unlike their mothers
and grandmothers, no longer made their important purchases in Paris
but invested their dollars instead, at least in part, in American fashion:
” [...] a trip to the Paris couture houses, was no longer an obligatory rite
of passage” {David 2006: 32).
Opening the pages of the March 1951 issue of Vogue, it is remarkable
how European, particularly French, culture in all its facets (décor,
painting, fashion) once again dominates the aesthetic world of the
American elite at the start of the 1950s. Though the USA was. In fact, a
world leader in textile production, especially of ready-to-wear fabrics,^
France took renewed control in the domain of haute couture, where its
innovations shaped the creative direction of fashion design in general.
After a brief blooming period for New York fashion during the Second
World War, the various lines of Christian Dior’s “New Look” continued
to dominate the American, as well as the rest of the European, fashion
industry virtually unchallenged beginning in 1947 (see Cawthorne
{1996: 106-33), Steele (1998: Chapter 13), and de Pietri and Leventon
{1989)).
Pollock in Vogue 33
Fashion chic was once again, as it was everywhere in the Western
world, equivalent to French chic: “The comeback of couture resulted in
fashions that promoted novelty, luxury, and quality—and, above all, a
feeling of Frenchness” (Milbank 1989: 170). It was the North American
upper classes in particular (together with selected film stars) who
became the first consumers in the years after tbe war who could afford
the extremely expensive, original Dior designs (McDowell 1997: 180).
Aside from Parisian haute couture.
from “old Europe.”* These two poles represent the elite’s own
fundamental ambivalence toward their “father lands” to which they
remained culturally tied, yet from which they also sought to emancipate
themselves (David 2006: 14).
for more styles of fashion dress , visit those fashion flower petal dress , celebrity red carpet dresses .
没有评论:
发表评论