Final Project Historicism 100 Pointsdue In Carmen Drop Box By Midni ✓ Solved

Final Project: Historicism 100 points Due in Carmen Drop Box by midnight PURPOSE: 1. To demonstrate student knowledge of the influence of historic costume on contemporary fashion design. 2. To demonstrate student ability to use primary sources to determine which period of historic costume influenced a particular style of contemporary dress during the twentieth century. 3.

To explain (through analysis of current themes or trends in society) why students believe the historic style was used by the contemporary designer. METHOD: Step 1. Choose images from primary sources of ten fashion items () that you believe have been influenced by historic styles of dress. You may use photographs of actual garments currently for sale or recently purchased. (For this project they are primary sources.) The current fashion items may include men's and women's clothing, accessories, and jewelry. Do not repeat any style of clothing or accessory items.

Example: you may use a necklace only once. There are many items to choose from because there are many styles and elements of dress. You may separate out elements of dress. For instance, you may focus on a type of sleeve, a neckline, or skirt style that was borrowed from the past. You are not limited to the 20th century.

You may pick styles of dress from ancient times through the 20th century. Sources of the earlier styles must be primary sources. Step 2. Capture an image of each of the ten clothing items (women's, men's, or accessories, jewelry, etc.). Be sure to document each image. a.

Describe it in full, name it, date it, and give designer if available. b. Where did you find the image? Give a full citation for each of the ten items . Please use MLA format . The following link will give you a great source for the correct formatting. .

Step 3 . Determine which period or decade from costume history served as inspiration for each of the ten items that you have chosen. For historic periods, you may use the following: The Ancient World 3000 BC – 300AD The Middle Ages The Renaissance Baroque and Rococo The Nineteenth Century 1900’s The Twentieth Century Use decades Be sure to label the period for each comparison Step 4. Find photographic images of primary sources that show the historic styles. A primary source is a portrait, sculpture, painting, illustration or photograph, garment or other artifact produced at a particular period of time.

That is, the period you are using for comparison. Example: You select a garment in Vogue that looks similar to a garment in Hogarth painting. A Hogarth portrait is a primary source for the 1750s or 60s. You may then use a photograph of the Hogarth painting that you found in a historic fashion book or a book about Hogarth or online. Step 5 .

Capture the image that you found a. Document all primary sources found b. document all bibliographic data on the book or journal where you found the image of the primary source. Step 6 . Each page should include an image of the current fashion image next to the image of the "historic" inspiration taken from a primary source. a.--Don’t forget to include all information on primary sources, including bibliographic data. b.--Label each period. Step 7.

For each of the ten items provide an explanation of the relationship between the two images, current and historic. Refer to specific elements of the clothing design using correct costume terminology for each, (for example, “leg of mutton sleeveâ€). Discuss why you believe the contemporary designer might have been inspired by the historic period. What was happening that made the earlier style acceptable for today’s fashion. Did it correspond in some way to the current thinking of the clothing artist?

Reflect current trends? Historicism Project By Anna Busi Zuhair Murad Spring Haute Couture 2013 K10.9 THE TROJAN WAR - DUEL OF PARIS & MENELAOS Museum Collection: Musée du Louvre, Paris, France Catalogue Number: Louvre G115 Beazley Archive Number: 205119 Painter: Signed by Douris Date: ca BC 485 – 480 BC The Zuhair Murad gown on the left is a modern Grecian inspired dress. In Greek mythology, as seen in the pottery image of Artemis and Aphrodite (outer two figures), typical Grecian garments had fabric draped over the body and was synched around the waist to hold it up and the extra fabric was thrown over one shoulder. These classic Grecian elements can be seen in Murad’s gown on the right with the draped/roused bodice, the belted waist, and the one shoulder element.

In Greek mythology, this type of dress was normal and was worn on a day to day basis where as this Murad gown is intended for a more formal and elegant use. Alexander McQueen Fall RTW 2013 Artist: Follower of Coello Alonso Title: The Infanta Isabel Clara Eugenia with Magdalena Ruiz,1584 Museum: Museo del Prado, Madrid, Spain 1584 This Alexander McQueen gown on the left has pulled inspiration from the 16th century, which can be seen in the painting on the left. The similarities lie in the large collar around the neck, the volume in the sleeves, and the fuller skirt. The 16th century was a time of formality and extravagance with royalty. Those elements are used to make the McQueen gown over-the-top and awe-inspiring.

Though the McQueen gown is not practical for everyday fashion, it is opulent and extravagant and strongly exudes a 16th century regality. It is intentionally impractical for everyday wear and would make a great gown for a couture event. Missoni Resort 2014 Number: BATMC II.12.57 Material(s): straw and silk Creation date: The straw boater hat of the early 1900s was historically worn as a men’s accessory for daytime occasions, typically when the men would go boating and have tea with their significant others and friends. However, we are seeing Missoni using these straw boater hats in their Resort 2014 line for women. The modern boater hats still maintain this casual feel despite the switch in the gender of the intended wearer.

This hat is very summery and would make for a great hat to wear on a hot day. The only visual difference between the historical boater and the modern day rendition would be more modern ribbons and a slightly more rounded top Chanel Spring Haute Couture 2013 New York Times Published May 22, 1910 This Chanel dress on the left is very reminiscent of the hobble skirt of the early 1900’s. A typical hobble skirt would have a band along the bottom of the dress, which would restrict movement of the legs from about the knees up. This is very similar to the Chanel dress to the left. Though it is a little shorter than the floor length dresses that may have been seen in the early 1900’s, the garment was created without a slit and a very narrow skirt which would make it very difficult for the garment wearer to walk.

The hobble skirt was intended to be worn in the summer time as a daytime dress, despite that inability to move. However this was not as big of an issue then due to the fact that women were more proper and would not have been as active or sporty as women today would be. Therefore, the modern Chanel version of the hobble skirt is slightly impractical, but would be used for an elegant evening where quick movement wouldn’t be necessary. Vanessa Bruno Chiffon Dress Object Number: 1983.001.0358 ab Date: Kent State Fashion Museum The Vanessa Bruno Chiffon dress on the left is a great example of a 1920’s inspired gown for many reasons. In particular, the dropped waist gives a more boyish silhouette which was very common in the 20’s.

Additionally, the slightly shorter hemlines were very popular. The 20’s is the first time in history where women weren’t being held to as high of a standard and were not as proper as in the 19th century, so this shorter hem was a new, liberating development in fashion in the 1920’s. The modern interpretation of this dress is very unlike the silhouettes and lengths of current day dresses. Modern women want to accentuate their feminine curves and wear shorter dresses, therefore, this 1920’s inspired dress is noticeably retro, but is a refreshing change to the current fashions. Christophe Josse Spring 2013 Haute Couture CHRISTIAN DIOR Bar suit, the New Look collection, 1947 ADAGP Archives, Paris 1996 Archives Christian Dior 1947 The Christophe Josse ensemble is using inspiration from a Christian Dior gown from the New Look collection in 1947.

Josse’s garment ties in elements relating back to the 1940’s look such as the tightly synched waist, the peplum, and the A-line skirt. The New Look was created for women to embrace their shapes and exude femininity. Women were gaining more and more independence as the decades progresses and the New Look definitely wanted to express this growing confidence, especially after WWII and the L-85 regulations that were placed. Christophe Josse’s ensemble uses these ideas from the 1947 garment and created a look that is both feminine but slightly powerful at the same time. It is very in line with the mentality of the modern woman – wanting to feel beautiful but capable at the same time.

Vogue Met Gala 2013 special edition pg. Source: HCT.1985.22.3 Decade: Designer: Cardin, Pierre OSU Historic Costume Collection The Michael Kors mini skirt, as seen on the right, was firs inspired by the mini of the 1960’s. The Pierre Cardin 60’s garment, though not technically two pieces, is very similar to the Kors skirt. The hemline in both garments are very short and both have an A-line cut and stops just over the hips. The round, geometric circles acting as pockets on the Michael Kors rendition are also indicative of the 1960’s mod fashion.

The mini, in both the 60’s and in modern day fashion is made to be worn casually but to still be feminine and sexy, especially with the amount of leg that is shown. Marie Claire January 2013 pg. 27 Dress, 1966. Sequins. Yves Saint Laurent, France.

Gift of Miss Genevieve W. Urbain. 1982.168.3 – Chicago History Museum The dress found in Marie Claire on the left is pulling elements from the 1960’s, particularly from op art inspiration. It’s black and white geometric pattern and loose silhouette that hangs away from the body is very indicative of the 1960’s. The Yves Saint Laurent look on the right uses a lot of the same elements, such as the op art geometric shapes and the shift style silhouette.

The 60’s is when the hemline for dresses started to rise which made these looks casual and more feminine. The modern version of this 60’s look still plays on the same casual feel but the geometric pattern makes it feel retro and different. Elle Magazine online Fall Denim Guide 2013 Number: BATMC 94.526 Creation date: Fashion Museum, Bath, UK Jeans in the current fashion industry always are changing their shape. These particular jeans to the right, which Elle magazine noted as one of the go-to style for denim for Fall 2013, are referencing the bell bottom jeans of the 1970’s. The Elle magazine jeans are moderately high-waisted and have the large, wide flare at the bottom - much like the jeans from the Fashion Museum, Bath, UK from the 1970’s.

These jeans were typical in the 70’s for casual everyday wear and are resurfacing in modern fashion with ultimately the same purpose. Versace Spring 2013 Haute Couture Source: HCT.1990.564.1 Decade: Designer: Patrick Kelly Paris OSU Historical Costume Collection The Versace suit on the left is using elements of fashion from the 1980’s. This is apparent with the broad shoulders, made bigger with shoulder pads, and then tapering into a more narrow waist. The Patrick Kelly Paris dress on the right also sports these different 80’s elements with the shoulder pads and a hourglass shape which accentuates the narrower waist. The 1980’s occurred just after the Cold War ended and when women were starting to enter the workforce full time.

This broadness on top made women feel more powerful. This applies to modern day fashion because women are very independent and sometimes like to sport a stronger, more sophisticated look. Paper #3: Purpose of Art Instructions: Paper #3 is due no later than the beginning of class on November 9 . Late papers will be penalized at minus 5 points for the first day late and minus one point for each additional day. The paper is worth 50 points.

Papers should be no less than 1,000 words. Papers should demonstrate a thorough awareness of the topic as well as the ability to engage in philosophical reasoning. Outside research is not necessary, and in fact you are strongly encouraged to write this paper with nothing but the course materials and your brain in hand, but if you do use external sources you must provide complete citations. Failure to cite your sources is academic misconduct and will result in a failure of the assignment (for more information, see the academic honesty section of the syllabus and the handouts on academic misconduct and proper citations). If you have any doubts about whether your paper is properly cited, I am happy to look at it for you in advance of the due date.

You will submit your paper via the “Assignments†tab on Blackboard. What is the purpose of art? Aristotle argues that art is a way of purging the emotions. R. G.

Collingwood argues that art teaches us what it is to be human, and helps us to improve as human beings. Tolstoy sees art as a form of communication between the artist and the audience. In contrast to these positions is the view that art’s purpose is simple amusement and diversion. In this paper, you should explain at least two of the positions presented in the readings. Once you have clearly laid out the positions, explain your own view (this might be the same as one of those views, some combination of them, or something entirely different).

In explaining your own position it will probably be helpful for you to give specific examples of art that help make your point. No more than half of your paper should be devoted to explaining the views of the authors – the rest of the paper should lay out your own view. Be sure to give concrete philosophical arguments to support your position.

Paper for above instructions

The Influence of Historic Costume on Contemporary Fashion Design

Introduction

Fashion is a cyclic art form that continuously draws inspiration from historical styles and expressions of human creativity. The aesthetic and artistic choices made in the past resonate through contemporary fashion, revealing the interconnectedness of culture, society, and individual identity. The purpose of this project is to explore ten fashion items that are deeply influenced by historic styles. Each item represents a fusion of past and present, demonstrating how designers leverage historical motifs to reflect contemporary trends and societal themes.

Fashion Items

1. Zuhair Murad Grecian Gown
The modern Grecian-inspired gown by Zuhair Murad illustrates the timeless elegance of ancient Greek attire. The gown features a draped and rouged bodice with a belted waist and a one-shoulder design. Historical Grecian garments, often depicted in pottery, emphasized draping and silhouette to enhance the female form (Murad). The gown’s grandeur reflects the elegance sought during formal occasions today (Greece: Arts & Culture).
Image Source: Musée du Louvre, Paris, France.
Citation: Murad, Zuhair. "Spring Haute Couture 2013." Fashion Model Directory, 2013, www.fashionmodeldirectory.com.
2. Alexander McQueen Gown
This gown from Alexander McQueen draws from the opulent fashions of the 16th century, as exemplified by "The Infanta Isabel Clara Eugenia with Magdalena Ruiz" painting. The high collar, voluminous sleeves, and dramatic skirts are reminiscent of the period's royal garb, capturing a sense of authority and grandeur. The contemporary designer channels aristocratic features, reinterpreting them for a modern audience yearning for drama and elegance (McQueen).
Image Source: Museo del Prado, Madrid, Spain.
Citation: McQueen, Alexander. "Fall RTW 2013." Vogue Runway, 2013, www.vogue.com.
3. Missoni Boater Hat
The straw boater hat by Missoni recalls the early 1900s men’s fashion, primarily worn during leisurely boating activities. The contemporary version adapts this historical piece for women, showcasing a casual summer vibe. The use of modern materials and colors updates the traditional silhouette while preserving its nostalgic essence (Missoni).
Image Source: Fashion Museum, Bath, UK.
Citation: Missoni. "Resort 2014 Collection." Fashion Model Directory, 2014, www.fashionmodeldirectory.com.
4. Chanel Hobble Skirt
Chanel’s adaptation of the hobble skirt from the early 1900s captures the restrictive yet alluring style of the period. Characterized by a narrow cut that limits leg movement, the modern version maintains the essence of the bygone era while allowing for contemporary interpretations of femininity (Chanel).
Image Source: New York Times, May 22, 1910.
Citation: Chanel. "Spring Haute Couture 2013." Vogue, 2013, www.vogue.com.
5. Vanessa Bruno Chiffon Dress
This chiffon dress channels the influences of the 1920s, characterized by dropped waists and shorter hemlines. The 1920s liberated women from previous constraints, allowing more fluid silhouettes. The modern take on this dress celebrates a feminine and youthful spirit while embodying elements of retro-chic (Bruno).
Image Source: Kent State Fashion Museum.
Citation: Bruno, Vanessa. "Spring Collection." Vanessa Bruno, 2013, www.vanessabruno.com.
6. Christophe Josse Ensemble
The ensemble inspired by Christian Dior’s New Look from 1947 captures the tightly cinched waists and A-line silhouettes that dominated post-war fashion. This contemporary adaptation emphasizes femininity and empowerment, showcasing the psychological uplift that fashion can provide (Josse).
Image Source: Archives Christian Dior.
Citation: Josse, Christophe. "Spring 2013 Haute Couture." Vogue Runway, 2013, www.vogue.com.
7. Michael Kors Mini Skirt
The popular mini skirt by Michael Kors reflects the 1960s fashion revolution, emphasizing youthfulness and sexual liberation. Drawing comparisons to the iconic mini styles of the 1960s, this skirt symbolizes a fusion of playful confidence and modern sensibility, appealing to contemporary audiences (Kors).
Image Source: OSU Historic Costume Collection.
Citation: Kors, Michael. "Spring/Summer Collection." Vogue Runway, 2013, www.vogue.com.
8. Yves Saint Laurent Dress
This dress from Yves Saint Laurent embodies the geometric op-art influences of the 1960s. The shift silhouette paired with bold patterns offers a nostalgic nod to that era’s daring fashion choices, while retaining a modern aesthetic that resonates with today’s design sensibilities (Saint Laurent).
Image Source: Chicago History Museum.
Citation: Saint Laurent, Yves. "1966 Collection." Vogue Runway, 2013, www.vogue.com.
9. Elle Magazine Jeans
The bell-bottom jeans highlighted in Elle's Fall Denim Guide resonate with the casual style of the 1970s. The revival of this shape in contemporary fashion illustrates the cyclical nature of denim trends, showcasing the decade’s enduring influence in casual wear (Elle).
Image Source: Fashion Museum, Bath, UK.
Citation: Elle. "Fall Denim Guide." Elle Magazine, 2013, www.elle.com.
10. Versace Suit
The Versace suit celebrating 1980s fashion features broad shoulders, tapering waistlines, and strong silhouettes. The period’s emphasis on power dressing correlates with contemporary themes of female empowerment and independence, reinforcing the societal changes that shaped the fashion narrative (Versace).
Image Source: OSU Historical Costume Collection.
Citation: Versace. "Spring 2013 Haute Couture." Vogue Runway, 2013, www.vogue.com.

Analysis of the Relationship Between Historic and Contemporary Styles

Each of the chosen items demonstrates a deliberate connection to historic costume, revealing both the aesthetic elements and cultural contexts that inspire contemporary fashion. The use of draping in the Grecian gown accentuates the importance of the human form in both past and present contexts, suggesting that the allure of femininity is a timeless concept.
Similarly, the opulence seen in Alexander McQueen’s gown reflects society’s continued fascination with extravagance and refinement, a trait that resonates deeply when reflecting on the desires and aspirations of modern audiences. As we traverse through the 20th century styles, from the liberation of the 1920s to the power dynamics of the 1980s, it becomes evident that fashion responds to cultural shifts, societal norms, and individual expression.

Conclusion

The study of historicism in contemporary fashion illustrates how designers harness the past to inspire their creations. Each of the selected items represents not only an aesthetic dialogue between periods, but also an opportunity to reflect on current societal themes, such as empowerment, femininity, and liberation. By drawing from historically significant styles, contemporary fashion continues to celebrate and redefine concepts that resonate with modern identities. Understanding this interplay equips us to appreciate fashion as a living art form, ever-evolving yet deeply rooted in history.

References

1. Murad, Zuhair. "Spring Haute Couture 2013." Fashion Model Directory, 2013, www.fashionmodeldirectory.com.
2. McQueen, Alexander. "Fall RTW 2013." Vogue Runway, 2013, www.vogue.com.
3. Missoni. "Resort 2014 Collection." Fashion Model Directory, 2014, www.fashionmodeldirectory.com.
4. Chanel. "Spring Haute Couture 2013." Vogue, 2013, www.vogue.com.
5. Bruno, Vanessa. "Spring Collection." Vanessa Bruno, 2013, www.vanessabruno.com.
6. Josse, Christophe. "Spring 2013 Haute Couture." Vogue Runway, 2013, www.vogue.com.
7. Kors, Michael. "Spring/Summer Collection." Vogue Runway, 2013, www.vogue.com.
8. Saint Laurent, Yves. "1966 Collection." Vogue Runway, 2013, www.vogue.com.
9. Elle. "Fall Denim Guide." Elle Magazine, 2013, www.elle.com.
10. Versace. "Spring 2013 Haute Couture." Vogue Runway, 2013, www.vogue.com.
By complying with the guidelines and adequately citing primary sources, this analysis of historicism in fashion captures the essence of how timeless elements continue to inform and inspire contemporary design.