Gucci AW16 Appraisal by Caroline Davies

Figure 1: A still from the Gucci Spring/Summer 2017 campaign

CONTENTS INTRODUCTION

AUTUMN/WINTER 2016 Overview Ruffled Jumper Trompe Lâ&#x20AC;&#x2122;Oeil Cape

6 8 10 14

SPRING/SUMMER 2017 Overview Wide Leg Trousers Check Blazer Head Wrap Loafers

24 26 28 32 38 44

CONCLUSION

REFERENCE LIST

FIGURE LIST

BIBLIOGRAPHY

Figure 2: A still from the Gucci Spring/Summer 2017 campaign

Referencing historic styles and trends in contemporary fashion is not a new phenomenon; the cyclical nature of fashion has led to a number of ‘style regenerations’ throughout history, in which outdated or ‘forgotten fashions’ make a reappearance and can be considered ‘innovative’, despite their historical application. (Drew and Sinclair, 2015)

Alessandro Michele, creative director of Gucci (Harris, 2016), successfully unites a number of upcycled fashion trends in his most recent collections, Autumn/Winter 2016 and Spring/Summer 2017, to create unique looks with familiar traits. The ‘disorderly, unpredictable’ and ‘unexpected’ collections (Picardie, 2016) intended to ‘play with’ people’s ‘timid… preconception of taste’ (Armstrong, 2016) with their eclectic nature and infusion of historic trends.

AUTUMN/WINTER 2016 READY-TO-WEAR COLLECTION LOOK 12

Figure 3: Look 12, Gucci Autumn/Winter 2016 ready-to-wear collection

F R O N T

Figure 4: Look 12, Gucci Autumn/Winter 2016 ready-to-wear collection

On first glance, this st replication of Pop Art e use of block colour in (Worsley, 2011). How inspection, it is appare have been referenced and classical, to crea eclectic aura of this intr

triking look offers bold elements with the kitsch n a caricatured manner wever, upon further ent that several styles d, both contemporary ate the inspiring and riguing and unique look.

B A C K

Figure 5: Look 12, Gucci Autumn/Winter 2016 ready-to-wear collection

Figure 6: Gucci ruffled jumper

Figure 7: Detailed view of the Gucci ruffled jumper

RUFFLED JUMPER The ruffled, pointelle knit jumper (figure 6 and 7) features the repopularised ‘Victoriana trend’ (Anderson, 2015), of feminine ruffling. Ruffling was popular in the Victorian era (Cole and Deihl, 2015) (figure 8); however the trend does not originate from this era, instead it is recorded as far back as the Elizabethan era circa. 1540 (Lewandowski, 2011) (figure 9), historically described as ‘a modest frill’, growing ‘in size and complexity’ across the next two decades. (Berg Fashion Library, 2017). Historically, ruffles have signified royalty or wealth and were worn as occasion wear, for royal appearances or weddings (Cole and Deihl, 2015) (figure 8); therefore, employing this style choice on a jumper juxtaposes the original intention, casualising the trend to suit the contemporary audience.

Figure 8: A House of Worthâ&#x20AC;&#x2122;s wedding bodice, circa 1880

Figure 9: Portrait of Etienne Dumoustier, circa 1570

The jumper, aside from the trim, is fabricated from 100% wool, (Harvey Nichols, 2017). The use of wool and employment of the knitting technique is far from a contemporary notion, with evidence of wool garments dating back to ‘240420AD’ in a pair of socks created by ‘nålbindning wool’ (‘single-needleknitting’), a ‘forerunner’ to contemporary knitting. (V&A, 2017) (figure 10) The first ‘manual knitting weft machine’ was developed in ‘1589’ which began to improve the efficiency of knitting (Wulfhorst et al, 2006) and saw the popularity of patterned and intricately knitted jumpers increase.

Figure 10: Egyptian Socks, circa 240-420 AD

Figure 11: Gucci Trompe Lâ&#x20AC;&#x2122;Oeil Cape

Figure 12: Detailed view of the Gucci Trompe L’Oeil Cape

TROMPE L’OEIL CAPE The turquoise cloak (figure 11 and 12) shares instant connotations with Pop Art, the bold, cartoonised art movement of the 1960s (Worsley, 2011); however, the silhouette of the garment drastically predates this. First recorded to appear in the 16th Century (Berg Fashion Library, 2017) (figure 13), the cloak has evolved throughout history to suit the needs and styles of wearers at the time. Beyond the elaborate decoration, this cloak also displays a more complex silhouette than Gucci’s, boasting a hood and a more bell-like silhouette. This simplifies almost immediately, by 1600, the cloak demonstrates a more similar silhouette, less structured and with a single fastening at the collar (figure 15). (V&A, 2017) Typically, at this time, cloaks formed a part of a ‘man’s ensemble’ (V&A, 2017); however, the trend was later adopted by women, putting a feminine twist on the garment, in fact this 1893 Emile Pignat cloak (figure 14). features elaborate ruffling detail, much like the coupling of the Gucci cape and ruffled jumper (figure 6 and 7).

Figure 13: Cloak, 1580

Figure 14: Emile Pingat cape, 1893

Figure 15: French cloak, 1600

The less elaborate and sleeker aesthetic of the Gucci cape mimics an A-line silhouette, a term first employed by Christian Dior in his Spring 1955 collection (Met Museum, 2004) and popularised throughout the decade (Cole and Deihl, 2015) (figure 17 and 18). A simplified and contemporised cloak style can be seen in Valentino’s 1960’s ‘dramatic cape’ (figure 16) (Cole and Deihl, 2015). The uninterrupted line of the cloak, with minimal embellishment is redolent of the Gucci cape along with the length, hitting the knee on both accounts; however, Gucci boasts a bold and ostentatious choice of colours, not reflected in Valentino’s white ensemble. Figure 16: Valentino cape, 1960s Figure 17: Dior A-line, spring/summer 1955

Figure 18: Yves Saint Laurent’s Trapeze Dress, 1958

Figure 19: Look 12, Gucci Autumn/Winter 2016 ready-to-wear collection

Figure 20: Roy Lichtenstein’s Oh Jeff

This cartoonised design, featuring ‘red turnover trompe l’oeil front’ (Matches Fashion, 2017) (figure 19), embodies the notion of both Op and Pop Art, playing ‘games with human perception’ and satirising popular culture in a cartoonist manner (Worsley, 2011) (figure 20 and 21). The ostentatious colours reflect Pop Art’s use of unexpected colour combinations in a 1960s manner (figure 22 and 23), which was translated into fashion during the decade. Figure 21: Andy Warhol’s Marilyn Monroe

Figure 22: The Supremeâ&#x20AC;&#x2122;s in the early 1960s

Figure 23: Marimekkoâ&#x20AC;&#x2122;s patterned dress, 1960s

Figure 24: Roberto Capucciâ&#x20AC;&#x2122;s jumpsuit, 1960s

The geometric design adorning the centre of the cape is redolent of Op Art’s geometric experimentation of ‘contrasting lines and patterns’ (figure 24) and the 1960s innovative use of patterns such as Marrimeko’s ‘bold abstracted’ prints (figure 23). (Cole and Deihl, 2015) and the emergence of geometric decoration of garments (figure 25).

Figure 25: Betsey Johnson’s designs for the Paraphernalia line in 1966

SPRING/SUMMER 2017 READY-TO-WEAR COLLECTION LOOK 1

Figure 26: Look 1, Gucci Spring/Summer 2017 ready-to-wear collection

F R O N T

With apparent conno dressing movement multifaceted look p by upcycling historic

Figure 27: Look 1, Gucci Spring/Summer 2017 ready-to-wear collection

B A C K

otations of the 1980’s ‘power t’ (Herald, J. 2007), this provides feminine authority c trends that span centuries. Figure 28: Look 1, Gucci Spring/Summer 2017 ready-to-wear collection

Figure 29: Gucci wide leg trousers

Figure 30: Detailed view of the Gucci wide leg trousers

WIDE LEG TROUSERS Believed to be a relatively contemporary style in women’s fashion, the trouser was popularised in celebrity culture in the early 20th Century (Cole and Deihl, 2015); however, as a concept, it first emerged in 1851 when Amelia Bloomer, a feminist activist and ‘advocate for dress reform’, introduced her ‘billowing trousers’ commonly referred to as bloomers (figure 31). (Noun, 1985) Baring few aesthetic similarities to Gucci’s trousers (figure 29 and 30), the bloomers were revolutionary in women’s fashion and the contemporary trouser began to evolve.

Figure 31: Bloomers, 1851

The wide leg and front pleat bare closer similarity to Muriel King’s 1942 trousers (figure 32). The flare silhouette, however, was popularised in the 1960s, and featured in all aspects of a woman’s wardrobe, as shown in this bridal flared trouser suit (figure 34) (Cole and Deihl, 2015). The 1966 Le Smoking suit from Yves Saint Laurent (figure 33), was the first ‘tuxedo-like pantsuit’ available to women. (Cole and Deihl, 2015). Complemented with a sharp blazer and blouse, it could be considered that the Yves Saint Laurent Smoking Suit formed the basis of inspiration for this Gucci Look.

Figure 32: Muriel King’s 1942 Utility Suit Figure 33: Yves Saint Laurent 1966 Le Smoking Suit

Figure 34: A bridal trouser suit, 1960s

Figure 35: Gucci check blazer

Figure 36: Detailed view of the Gucci check blazer

CHECK BLAZER Described as ‘a men’s influenced peak lapel jacket’ (Gucci, 2017), this jacket (figure 35 and 36) is redolent of the 1966 Le Smoking Suit (figure 33). Historically, the blazer has been attributed to male fashion, particularly in the 16th and 17th Century (figure 37 and 38) (Perrot, 1996), before being adopted into women’s wardrobes partially in the 1960s (Cole and Deihl, 2015) and then rising in popularity in the 1980s (Herald, J. 2007).

Figure 37 (left): Dress suit, 1770s Figure 38 (right): Blazer and cossack trousers, 1820s

Typically worn on formal occasions, the historical silhouette was similar to that of a contemporary tailcoat, falling to the knee (figure 37) (Berg Fashion Library, 2017); however, over time, the length shortened and the overall appearance was casualised (figure 38 and 39). Figure 39: Morning coat, 1870s

When the blazer was first adopted by women, it had a form-flattering shape, cinching in at the waist (fiure 40 and 41), for a feminine look, which relaxed in the 1960s with the popularisation of a more masculine aesthetic (figure 33) (Cole and Deihl, 2015).

Figure 40: Diorâ&#x20AC;&#x2122;s Bar Suit, 1947 Figure 41: Hardy Amies suit, 1947

Tartan and check patterns hold historic symbolism, particularly in Scottish culture and date back to the Iron Age (8th Century BC) (Koch, 2006). Throughout time, the heritage and family meanings were blurred and tartan and check patterns were used simply for aesthetic appeal and can be seen adorning suits, both

male and female, in the mid-20th Century (figure 42 and 43). (Berg Fashion Library, 2017 : Cole and Deihl, 2015) It was considered a more â&#x20AC;&#x2DC;casualâ&#x20AC;&#x2122; approach to suiting, particularly wool check, as opposed to traditional solid blacks, navies and browns. (Berg Fashion Library, 2017)

Figure 42: Check suit, 1940

Figure 43: A Harperâ&#x20AC;&#x2122;s Bazaar editorial from April 1943

Figure 44: Gucci head wrap

Figure 45: Detailed view of the Gucci head wrap

HEAD WRAP Often considered a style of the 1940s (figure 47), the hair wrap was featured on this recognisable and iconic poster of the 1940s (figure 46). (The National Museum of American History, no date) However, before this, the hair wrap was an indicator of ethnic culture and slavery history. Recorded in a 1707 painting (figure 48), African women adorned the wrap to protect their hair and head from the harsh sun (Griebel, 2015).

Figure 46: Wartime We Can Do It! Poster

Figure 47: An illustration of a lady wearing a head wrap in Vogue, 1948

Figure 48: Slavery painting, 1707

Figure 49: Gucci platform loafers

Figure 50: Detailed view of the Gucci platform loafers

PLATFORM LOAFERS On the runway, (figure 26), the look was accompanied with reputable Gucci loafers, which in themselves are historic as they were first designed, for men, in 1932, but launched in 1953, by Guccio Gucci (Kinnebuerg and Gardner, 2016). When adopted into womenswear, they retained their masculine appearance with the added femininity of variants in heel height, and in 1980 they ‘became the must-have symbol of wealth and status’. (Shawcross, 2014) Contemporary shoe design has been described as focusing on ‘historical styles’ and ‘borrowing from the past’, so much so that an ‘original shoe style’ has become a rarity. (Shawcross, 2014)

46 Figure 51: Kansai Yamamotoâ&#x20AC;&#x2122;s platform shoes 1970s

This contemporary update of the historical (figure 49 and 50), incorporates further historical elements to create a unique and striking appeal. The platform is fondly remembered as a

signature of 1970s fashion (figure 51 and 52) as an adoption of costume style, but the style has returned to fashion more recently as exhibited in these Gucci loafers. (Shawcross, 2014)

Figure 52: Biba shoes, 1972

Figure 53: An image in Vogue in 1920 showing a woman adorned in pearls

Furthermore, the embellishment of the heel, features pearls for further historic reference, contemporised to suit a modern audience. A style attributed to the 1920s (figure 53), pearls, at the time indicated opulence and status (Cole and Deihl, 2015); however, Gucci employs them for aesthetic appeal, noted as â&#x20AC;&#x2DC;white resinâ&#x20AC;&#x2122; (Gucci, 2017), a cheaper alternative. However, as a naturally occurring material, the use of pearls in recorded approximately 2,000 years ago they have been used extensively throughout history (figure 54 and 55). (Silva, 2010) Figure 54: A 4th Century BC pearl earring

Figure 54: Necklace with pearl accents, circa 200 BC

Figure 56: A still from the Gucci Spring/Summer 2017 campaign

It can be concluded, through this appraisal of Gucciâ&#x20AC;&#x2122;s collection, that historic styles have a place in contemporary society and can appeal to a modern audience. Whether an exact replica or an evolution of a certain style, Gucci have enriched their collections with historic elements, creating aesthetically appealing styles with a wealth of culture and inspiration. 1495 words

REFEREN Anderson, K. 2015. The Unexpected Reign of “Period Piece” Style on the Spring Runways. [Online]. [Accessed 30 March 2016]. Available from: http://www.vogue.com/article/spring-2016-runway-trends-victorian-fashion Armstrong, L. 2016. Gucci AW16: A triumph of joyous colour and eccentricity at Milan Fashion Week. [Online]. [Accessed 31 March 2017]. Available from: http://www.telegraph.co.uk/fashion/milan-fashion-week/ gucci-aw16-show-at-milan-fashion-week/ Berg Fashion Library. 2017. Interactive Timeline. [Online]. [Accessed 30 March 2016]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/timeline Berg Fashion Library. 2017. Single Breasted Suit. [Online]. [Accessed 31 March 2016]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/single-breasted-suit-1 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. Drew, L. and Sinclair, R. 2015. Fashion and the Fashion Industry. In: Sinclair, R. ed. Textiles and Fashion: Materials, Design and Technology. [Online]. Cambridge: Woodhead Publishing. [Accessed 31 March 2017]. Available from: https://www.dawsonera.com/readonline/9780857095619 Griebel, H. B. 2015. The African American Woman’s Headwrap: Unwinding the Symbols. [Online]. [Accessed 31 March 2017]. Available from: http://char.txa.cornell.edu/griebel.htm Gucci. 2017. Check Wool Jacket. [Online]. [Accessed 31 March 2017]. Available from: https://www. gucci.com/uk/en_gb/pr/women/womens-ready-to-wear/womens-coats-jackets/womens-jackets/ check-wool-jacket-p-472134ZIM421310?position=3&listName=ProductGridComponent&categoryPath=Women/Womens-Ready-to-Wear/Womens-Coats-Jackets Gucci. 2017. Studded leather Horsebit loafers. [Online]. [Accessed 23 April 2017]. Available from: https:// www.gucci.com/uk/en_gb/pr/women/womens-shoes/womens-pumps/studded-leather-horsebit-loafers-p-470970C9D001000?listName=LookDetailsCarouselComponent&position=7 Harris. S. 2016. Autumn/Winter 2016 Ready-To-Wear: Gucci. [Online]. [Accessed 30 March 2016]. Available from: http://www.vogue.co.uk/shows/autumn-winter-2016-ready-to-wear/gucci/ Harvey Nichols. 2017. Gucci pink ruffle-trimmed pointelle-knit jumper. [Online]. [Accessed 30 March 2016]. Available from: http://www.harveynichols.com/brand/gucci/169440-pink-ruffle-trimmed-pointelle-knit-jumper/p2770696/?istCompanyId=c721e458-728e-4a28-bc83-6a1d2abf7708&istItemId=xxprtwqait&istBid=tzpt&_$ja=tsid:73439%7ccid:311904993%7cagid:26979966633%7ctid:aud-75572039514:pla-186928625553%7ccrid:84486443913%7cnw:g%7cr nd:1943254405370754757%7cdvc:c%7cadp:1o1&gclid=Cj0KEQjw2fLGBRDopP-vg7PLgvsBEiQAUOnIXE5ag8CiwyPMYOM_ZM1qdvV7S-dQKRS8I9zbE5cEcooaAn2K8P8HAQ&gclsrc=aw.ds

NCE LIST Herald, J. 2007. Fashions of a Decade:The 1970s. Second Edition. New York: Infobase Publishing Kinneberg, C. and Gardner, L. 2016. The Fashion Book. 3rd Edition. London: Phaidon Press Ltd. Koch, J. T. 2006. Celtic Culture: A Historical Encyclopaedia. [Online]. Oxford: ABC-Clio. [Accessed 31 March 2017]. Available from: http://lib.leeds.ac.uk/record=b2872296~S5 Lewandowski, E. J. 2011. The Complete Costume Dictionary. [Online]. Plymouth: Scarecrow Press. [Accessed 30 March 2016]. Available from: http://reader.vlebooks.com/reader/open?accId=10185&cite=1&isbn=9780810877856&maxCopy=58&maxPrint=58&mmLimit=0&notes=1&pageLimit=0&shareLink=%2F%2FWWW.VLEBOOKS.COM%2FVLEWEB%2FPRODUCT%2FINDEX%2F156123&startPage=0&timestamp=2017-03-30T10%3A31%3A31&userId=807417&watermark=++++++++++++++++++++++++++++++L EEDSUNI%2FYSB5ZI9DL0TWB0LFZDCXNFJNC1FOOENLWLFZPQ++++++++++++++++++++++++++++++&token=zYVMGGRl7i7XkoDNi798WKnrLk0%3d Matches Fashion. 2017. Gucci Trompe Lâ&#x20AC;&#x2122;oeil Wool Cape. [Online]. [Accessed 30 March 2017]. Available from: http://www.matchesfashion.com/us/products/Gucci-Trompe-l%27oeil-wool-cape-1065454 Noun, L. 1985. Amelia Bloomer, A Biography. State Historical Society of Iowa: The Annuals of Iowa. [Online]. 47(7), pp.575-617. [Accessed 31 March]. Available from: http://ir.uiowa.edu/cgi/viewcontent.cgi?article=9099&context=annals-of-iowa Perrot, P. 1996. Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century. New Jersey: Princeton University Press Picardie, J. 2016. Gucci Autumn/Winter 2016. [Online]. [Accessed 31 March 2017]. Available from: http:// www.harpersbazaar.co.uk/fashion/shows-trends/news/g36570/gucci-autumn-winter-2016/ Shawcross. R. 2014. Shoes: An Illustrated History. New York: Bloomsbury Publishing Plc. Silva, B. 2010. Pearls. Womenswear Daily. [Online]. 200(75), p.15. [Accessed 31 March]. Available from: http://0-search.proquest.com.wam.leeds.ac.uk/docview/867660504?pq-origsite=summon&accountid=14664 Victoria and Albert Museum. 2017. Pair of Socks. [Online]. [Accessed 30 March 2017]. Available from: http://collections.vam.ac.uk/item/O107787/pair-of-socks-unknown/ Worsley, H. 2011. 100 Ideas That Changed Fashion. London: Laurence King Publishing Ltd. Wulfhorst, B., Gries, T. and Veit, Dieter. 2006. Textile Technology. Munich: Hanser Publishers

FIGUR Figure 1:

A still from the Gucci Spring/Summer 2017 campaign Gucci. 2017. Wild Days and Nights in Rome: The Gucci Spring Summer 2017 Campaign. [Online]. [Accessed 23 April 2017]. Available from: https://www.youtube.com/watch?v=VQszVWxYjSw

Figure 2:

Figure 3:

Look 12, Gucci Autumn/Winter 2016 ready-to-wear collection Vogue. 2016. Gucci Autumn/Winter 2016 Ready-to-Wear Collection. [Online]. [Accessed 23 April 2017]. Available from: http://www.vogue.co.uk/shows/autumn-winter-2016-ready-towear/gucci/collection/

Figure 4:

Look 12, Gucci Autumn/Winter 2016 ready-to-wear collection Gucci. 2016. Look 12. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci. com/uk/en_gb/lo/runway/women/fall-winter-2016-runway/look-12-p-FW16_FSWLook12EU

Figure 5:

Figure 6:

Gucci ruffled jumper Harvey Nichols. 2017. Gucci Pink ruffle-trimmed pointelle-knit jumper. [Online]. [Accessed 23 April 2017]. Available from: http://www.harveynichols.com/brand/gucci/169440-pink-ruffletrimmed-pointelle-knit-jumper/p2770696/?istCompanyId=c721e458-728e-4a28-bc83-6a1d2abf7708&istItemId=xxprtwqaix&istBid=tzpt&_$ja=tsid:73439%7ccid:311904993%7cagid:26979966633%7ctid:pla-186928625553%7ccrid:84486443913%7cnw:g%7crnd:29366 37177846150973%7cdvc:c%7cadp:1o1&gclid=CKyE79ykutMCFQ4TGwod6fQDVw&gclsrc=aw. ds

RE LIST Figure 7:

Detailed view of the Gucci ruffled jumper Harvey Nichols. 2017. Gucci Pink ruffle-trimmed pointelle-knit jumper. [Online]. [Accessed 23 April 2017]. Available from: http://www.harveynichols.com/brand/gucci/169440-pink-ruffletrimmed-pointelle-knit-jumper/p2770696/?istCompanyId=c721e458-728e-4a28-bc83-6a1d2abf7708&istItemId=xxprtwqaix&istBid=tzpt&_$ja=tsid:73439%7ccid:311904993%7cagid:26979966633%7ctid:pla-186928625553%7ccrid:84486443913%7cnw:g%7crnd:29366 37177846150973%7cdvc:c%7cadp:1o1&gclid=CKyE79ykutMCFQ4TGwod6fQDVw&gclsrc=aw. ds

Figure 8:

A House of Worth’s wedding bodice, circa 1880 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.35

Figure 9:

Portrait of Etienne Dumoustier, circa 1570 Berg Fashion Library. 2017. Timeline. [Online]. [Accessed 22 April 2017]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/timeline

Figure 10:

Egyptian Socks, circa 240-420 AD Victoria and Albert Museum. 2017. Pair of Socks. [Online]. [Accessed 30 March 2017]. Available from: http://collections.vam.ac.uk/item/O107787/pair-of-socks-unknown/

Figure 11:

Gucci Trompe L’Oeil Cape Matches Fashion. 2017. Gucci Trompe L’Oeil Wool Cape. [Online]. [Accessed 23 April 2017]. Available from: http://www.matchesfashion.com/us/products/Gucci-Trompe-l%27oeil-woolcape-1065454

Figure 12:

Detailed view of the Gucci trompe L’Oeil Cape Matches Fashion. 2017. Gucci Trompe L’Oeil Wool Cape. [Online]. [Accessed 23 April 2017]. Available from: http://www.matchesfashion.com/us/products/Gucci-Trompe-l%27oeil-woolcape-1065454

Figure 13:

Cloak, 1580 Berg Fashion Library. 2017. Timeline. [Online]. [Accessed 22 April 2017]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/cloak-5

Figure 14:

Emile Pingat cape, 1893 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.67

Figure 15:

French cloak, 1600 Berg Fashion Library. 2017. Timeline. [Online]. [Accessed 22 April 2017]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/cloak-5

Figure 16:

Valentino cape, 1960s Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.291

Figure 17:

Dior A-line, spring/summer 1955 The Met Museum. 2017. Ensemble. [Online]. [Accessed 22 April 2014]. Available from: http://www.metmuseum.org/toah/works-of-art/C.I.55.63a-c/

Figure 18:

Yves Saint Laurent’s Trapeze Dress, 1958 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.242

Figure 19:

Figure 20:

Roy Lichtenstein’s Oh Jeff Candela, I. 2013. Lichtenstein: A Retrospective: Preparing the show. [Online]. [Accessed 22 April 2017]. Available from: http://www.tate.org.uk/context-comment/blogs/lichtenstein-retrospective-preparing-show

Figure 21:

Andy Warhol’s Marilyn Monroe Museum of Modern Art. 2017. Andy Warhol Marilyn Monroe. [Online]. [Accessed 22 April 2017]. Available from: https://www.moma.org/learn/moma_learning/richard-pettibone-andy-warhol-marilyn-monroe-1964

Figure 22:

The Supreme’s in the early 1960s Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.269

Figure 23:

Marimekko’s patterned dress, 1960s Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.275

Figure 24:

Roberto Capucci’s jumpsuit, 1960s Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.290

Figure 25:

Betsey Johnson’s designs for the Paraphernalia line in 1966 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.295

Figure 26:

Look 1, Gucci Spring/Summer 2017 ready-to-wear collection Vogue. 2016. Gucci Spring/Summer 2017 Ready-to-Wear Collection. [Online]. [Accessed 23 April 2017]. Available from: http://www.vogue.co.uk/shows/spring-summer-2017-ready-towear/gucci/collection/

Figure 27:

Look 1, Gucci Spring/Summer 2017 ready-to-wear collection Gucci. 2017. Look 1. [Online]. [Accessed 23 April 2017]. Available from: https://www. gucci.com/uk/en_gb/lo/runway/women/spring-summer-2017-runway/look-1-p-SS17_ FSWLook01EU

Figure 28:

Figure 29:

Gucci wide leg trousers Gucci. 2017. Embroidered wide leg cuffed pant. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-ready-to-wear/womens-pantsshorts/womens-pants/embroidered-wide-leg-cuffed-pant-p-470396ZIE279205?listName=LookDetailsCarouselComponent&position=6

Figure 30:

Detailed view of the Gucci wide leg trousers Gucci. 2017. Embroidered wide leg cuffed pant. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-ready-to-wear/womens-pantsshorts/womens-pants/embroidered-wide-leg-cuffed-pant-p-470396ZIE279205?listName=LookDetailsCarouselComponent&position=6

Figure 31:

Bloomers, 1851 National Park Service. 2017. Women’s Rights: Amelia Bloomer. [Online]. [Accessed 22 April 2017]. Available from: https://www.nps.gov/wori/learn/historyculture/amelia-bloomer.htm

Figure 32:

Muriel King’s 1942 Utility Suit Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.220

Figure 33:

Yves Saint Laurent’s Le Smoking Suit, 1966 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.283

Figure 34:

A bridal trouser suit, 1960s Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.279

Figure 35:

Gucci check blazer Gucci. 2017. Check wool jacket. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-ready-to-wear/womens-coats-jackets/womens-jackets/check-wool-jacket-p-472134ZIM421310?audience=pla-271898387657&gclid=CNOytcKmutMCFQ0R0wod0ekEXg&gclsrc=aw.ds&dclid=CM7dvMKmutMCFXco0wodVvENpA

Figure 36:

Detailed view of the Gucci check blazer Gucci. 2017. Check wool jacket. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-ready-to-wear/womens-coats-jackets/womens-jackets/check-wool-jacket-p-472134ZIM421310?audience=pla-271898387657&gclid=CNOytcKmutMCFQ0R0wod0ekEXg&gclsrc=aw.ds&dclid=CM7dvMKmutMCFXco0wodVvENpA

Figure 37:

Dress suit, 1770s Berg Fashion Library. 2017. Timeline. [Online]. [Accessed 22 April 2017]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/dress-suit

Figure 38:

Blazer and Cossack trousers, 1820s Berg Fashion Library. 2017. Timeline. [Online]. [Accessed 22 April 2017]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/cossack-trousers

Figure 39:

Morning coats, 1870s Berg Fashion Library. 2017. Timeline. [Online]. [Accessed 22 April 2017]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/morning-coat

Figure 40:

Diorâ&#x20AC;&#x2122;s Bar Suit, 1947 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.210

Figure 41:

Hardy Amies suit, 1947 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.214

Figure 42:

Check suit, 1940 Berg Fashion Library. 2017. Timeline. [Online]. [Accessed 22 April 2017]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/single-breasted-suit-1

Figure 43:

A Harperâ&#x20AC;&#x2122;s Bazaar editorial from April 1943 Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. p.197

Figure 44:

Gucci head wrap Gucci. 2017. Silk wool headband. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-accessories/womens-hats-gloves/ womens-headbands/silk-wool-headband-p-4691913G2995800?listName=LookDetailsCarouselComponent&position=2

Figure 45:

Detailed view of Gucci head wrap Gucci. 2017. Silk wool headband. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-accessories/womens-hats-gloves/ womens-headbands/silk-wool-headband-p-4691913G2995800?listName=LookDetailsCarouselComponent&position=2

Figure 46:

Wartime We Can Do It! Poster The National WWII Museum. Public Programming. [Online]. [Accessed 23 April 2017]. Available from: http://www.nationalww2museum.org/visit/exhibits/propaganda-posters-exhibit-public-programming.html?referrer=https://www.google.co.uk/

Figure 47:

An illustration of a lady wearing a head wrap in Vogue, 1948 Vogue. 1943. Summer Dressing: City Fare. [Online]. [Accessed 22 April 2017]. Available from: https://search.proquest.com/vogue/docview/904323644/383D1F96D0914E73PQ/9?accountid=14664. p.106

Figure 48:

Slavery painting, 1707 Schoeman, K. 2012. Early Slavery at the Cape of Good Hope: 1652-1717. Chicago: Pritzker Military Museum and Library. p.0

Figure 49:

Gucci platform loafers Gucci. 2017. Studded leather Horsebit loafers. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-shoes/womens-pumps/studded-leather-horsebit-loafers-p-470970C9D001000?listName=LookDetailsCarouselComponent&position=7

Figure 50:

Detailed view of the Gucci platform loafers Gucci. 2017.Studded leather Horsebit loafers. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/pr/women/womens-shoes/womens-pumps/studded-leather-horsebit-loafers-p-470970C9D001000?listName=LookDetailsCarouselComponent&position=7

Figure 51:

Kansai Yamamotoâ&#x20AC;&#x2122;s platform shoes 1970s Shawcross. R. 2014. Shoes: An Illustrated History. New York: Bloomsbury Publishing Plc. p.210

Figure 52:

Biba shoes, 1972 Victoria and Albert Museum. 2017. Biba Shoes. [Online]. [Accessed 30 March 2017]. Available from: http://collections.vam.ac.uk/item/O134896/pair-of-evening-biba/

Figure 53:

An image in Vogue in 1920 showing a woman adorned in pearls Vogue. 1920. Worth sponsors a jeweled mode for evening. [Online]. [Accessed 22 April 2017]. Available from: https://search.proquest.com/vogue/docview/904307770/4CAAF43A785347E3PQ/4?accountid=14664. p.57

Figure 54:

A 4th Century BC pearl earring. Victoria and Albert Museum. 2017. Earring. [Online]. [Accessed 30 March 2017]. Available from: http://collections.vam.ac.uk/item/O111568/earring-unknown/

Figure 55:

Necklace with pearl accents, circa 200 BC Lang Antiques. 2012. Emerald, Garnet and Gold Helenistic Necklace. [Online]. [Accessed 23 April 2017]. Available from: http://www.langantiques.com/university/File:Helenistic_Gem_ and_Gold_Necklace.jpg

Figure 56:

BIBLIOG Ambrose, G. and Harris, P. 2007. The Visual Dictionary of Fashion Design. [Online]. Worthing: AVA Academia. [Accessed 30 March 2017]. Available from: https://www.dawsonera.com/readonline/9782940439669 American Academy of Ophthalmology. 2017. Timeline of Eyeglasses. [Online]. [Accessed 30 March 2017]. Available from: http://www.museumofvision.org/exhibitions/?key=44&subkey=4&relkey=35 Anderson, K. 2015. The Unexpected Reign of “Period Piece” Style on the Spring Runways. [Online]. [Accessed 30 March 2016]. Available from: http://www.vogue.com/article/spring-2016-runway-trends-victorian-fashion Armstrong, L. 2016. Gucci AW16: A triumph of joyous colour and eccentricity at Milan Fashion Week. [Online]. [Accessed 31 March 2017]. Available from: http://www.telegraph.co.uk/fashion/milan-fashion-week/ gucci-aw16-show-at-milan-fashion-week/ Berg Fashion Library. 2017. Interactive Timeline. [Online]. [Accessed 30 March 2016]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/timeline Berg Fashion Library. 2017. Single Breasted Suit. [Online]. [Accessed 31 March 2016]. Available from: https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/museum/victoria-albert-museum/single-breasted-suit-1 Blackman, C. 2012. 100 Years of Fashion. London: Laurence King Publishing Ltd. Candela, I. 2013. Lichtenstein: A Retrospective: Preparing the show. [Online]. [Accessed 22 April 2017]. Available from: http://www.tate.org.uk/context-comment/blogs/lichtenstein-retrospective-preparing-show Cole, D. J. and Deihl, N. 2015. The History of Modern Fashion. London: Laurence King Publishing Ltd. Drew, L. and Sinclair, R. 2015. Fashion and the Fashion Industry. In: Sinclair, R. ed. Textiles and Fashion: Materials, Design and Technology. [Online]. Cambridge: Woodhead Publishing. [Accessed 31 March 2017]. Available from: https://www.dawsonera.com/readonline/9780857095619 Fraser-Cavasson, N. 2015. Vogue on Yves Saint Laurent. London: Quadrille Publishing Ltd. Griebel, H. B. 2015. The African American Woman’s Headwrap: Unwinding the Symbols. [Online]. [Accessed 31 March 2017]. Available from: http://char.txa.cornell.edu/griebel.htm Gucci. 2016. Look 12. [Online]. [Accessed 23 April 2017]. Available from: https://www.gucci.com/uk/en_gb/ lo/runway/women/fall-winter-2016-runway/look-12-p-FW16_FSWLook12EU

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BA(HONS) FASHION MARKETING DESN1375: FASHION IN CONTEXT ASSIGNMENT III MAY 2017