Linguist - Fashion - Spring 2022

Fashion – spring 2022 Edited by Jasmine and Sakina Drawn by Anoushna

Contents © Message from the editors – page 2 © Andean traditional clothing – Xenia – page 3 © Traditional Spanish clothing – Eniola – page 5 © The presentation of women’s bodies in Parisian fashion – Jasmine – page 7 © The origins of Italian fashion – Jasmine – page 10 © Missoni – Jemima – page 12 © Reviving India’s handlooms – Vanessa – page 14 © How has women’s fashion changed in Germany after WWI? – Sherla – page 16 © Tamil fashion – Neesha – page 18 © Fashion in television – Sakina – page 21

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Dear all readers of The Linguist magazine, Congratulations on making it through another term! Now it’s time to take a break, relax and unwind with a magazine. For this edition of The Linguist, we were interested in writing about the theme of fashion around the world! We feel that fashion signifies a huge part of culture and identity in different communities and exploring the fashion in different countries gives us insight into new cultures, traditions and perspectives.

This term The Linguist brings you the new edition of the magazine on this topic, written by many of our wonderful students here at NLCS. We hope that it inspires you to look into the fashion world throughout your linguistic journey and keep an eye out for various clothing styles on your travels.

Enjoy!

Jasmine and Sakina <3 xxx

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Ropa tradicional andina Los Andes son un área de América del Sur hogar de muchos pueblos indígenas. Cada grupo tiene sus propias culturas y tradiciones ricas, particularmente en lo que respecta a la ropa. Por lo tanto, he recopilado algunas de las principales prendas de vestir tradicionales de la región para dar una breve descripción del tema.

Las mujeres quechuas son parte de una serie de tribus indígenas que viven en las montañas andinas de América del Sur, en áreas como Perú o Argentina. Si bien cada tribu tiene sus tradiciones específicas y variaciones de vestimenta tradicional, algunas de las prendas de vestir generalizadas en el área son Liclla o Manta. Un cuadrado es una tela tejida que se asienta y cubre la parte posterior de los hombros. A veces se utiliza para transportar niños pequeños. Aún así, también se usa para festivales y ocasiones especiales. Las polleras, faldas anchas, están hechas predominantemente de bayeta de lana tejida a mano. Generalmente se usan varias al mismo tiempo, una sobre otra; el diseño a menudo difiere de una tribu a otra y generalmente puede indicar de dónde proviene una mujer.

Los otavaleños son otro grupo indígena de origen andino, esta vez de Ecuador. Los hombres suelen llevar pantalones blancos, un poncho azul y un sombrero de fieltro.

También tienen una tradición preincaica de tener Shimba, que son largas trenzas que a menudo llegan a la cintura. Estas sirven como un símbolo de su identidad indígena y, por lo tanto, se consideran increíblemente importantes.

Por último, el pueblo aymara, que también habita los Andes en el Altiplano (que significa llanura alta), es conocido por usar ropa tejida con precisión en textiles con hilos verticales y horizontales interconectados en un telar. Utilizan lana de animales locales como alpacas y fibras de plantas de algodón. Usan esta técnica para crear túnicas, camisas y ponchos, y complementos como cinturones, fajas y sombreros.

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Andean traditional clothing The Andes are an area of South America home to many indigenous peoples. Each group has its own rich cultures and traditions, particularly concerning clothing. I have thus compiled a few of the main traditional clothing items from the region to give a brief overview of the topic.

The Quechua women are a part of a series of indigenous tribes living in the Andean mountains of South America, in areas such as Peru or Argentina. Whilst each tribe has its specific traditions and variations of traditional dress, some of the pervasive clothing items in the area are Liclla or Manta. A square is a woven cloth that sits on and covers the back of the shoulders. It is sometimes used to carry young children. Still, it is also worn for festivals and special occasions. Polleras, wide skirts, are predominantly made from handwoven wool bayeta cloth. Several are generally worn at the same time, one over another; the design often differs from tribe to tribe and can usually indicate where a woman hails from.

The Otavaleños are another indigenous group of Andean origin, this time from Ecuador.

Men are often wearing white trousers, a blue poncho and a felt hat. They also have a preIncan times tradition of having Shimba – which are long braids that often reach the waist.

These serve as a symbol of their indigenous identity and thus are considered to be incredibly important.

Lastly, the Aymara people, who also inhabit the Andes in the Altiplano (meaning high plains), are known for wearing clothes woven with precision into textiles with interconnecting vertical and horizontal threads on a loom. They use wool from local animals such as alpacas and fibres from cotton plants. They use this technique to create tunics, shirts and ponchos, and accessories such as belts, sashes, and hats.

Xenia

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Ropa tradicional española En el siglo XVI, España estaba a la vanguardia de la moda, y sus populares estilos de vestir, reconocidos por su elegancia, influyeron en todo el mundo. Durante esta época, en la que España estaba gobernada por la dinastía de los Habsburgo, las modas españolas, como las capas, los corsés y los verdugados, se hicieron muy populares en toda Europa occidental.

El verdugado era una falda de aro en forma de campana que originalmente se reforzaba con esparto. La estructura de la prenda tenía los aros bien visibles en la superficie de la falda, aunque esto evolucionó hasta dar forma únicamente a la sobrefalda. Las primeras fuentes indican que Juana de Portugal comenzó a utilizar los verdugados en España, y la moda de la corte siguió entonces su ejemplo. Un ejemplo de cómo pudo extenderse y ganar influencia internacional es que se dice que Catalina de Aragón llevó esta moda a Inglaterra en su matrimonio con Arturo, príncipe de Gales, en 1501. A partir de ahí, el verdugado tuvo un amplio impacto tanto en la moda monárquica europea como en la moda general.

La ropa en España solía estar hecha de telas ricas y pesadas y decorada con hilos de oro o plata. Sin embargo, estos estilos no se adaptaron a la rápida evolución de los tiempos, lo que hizo que la moda tradicional española quedara un tanto desfasada, permitiendo que surgiera la moda francesa, con ciudades como París a la cabeza de la moda europea del siglo XVII por su innovación más atractiva.

Hoy en día, aunque la moda española es muy moderna, la ropa tradicional se sigue utilizando para eventos especiales. Por ejemplo, el traje de luces, que es el traje tradicional de los toreros españoles, caracterizado por el uso de lentejuelas, hilos de oro y plata, y detallados bordados, se ha mantenido muy similar desde el siglo XIX.

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Traditional Spanish Clothing In the 16th century, Spain was on the forefront of fashion, with its popular clothing styles that were recognised for their elegance influencing the world. During this era, when Spain was ruled by the Habsburg dynasty, Spanish fashions such as capes, corsets, and farthingales became very popular all-over Western Europe.

The farthingale, derived from the Spanish name verdugado, was a bellshaped hoop skirt that was originally stiffened with esparto grass. The structure of the item of clothing would have the hoops prominently on display on the surface of the skirt, however this developed into it solely providing shape to the overskirt. The earliest sources indicate that Joan of Portugal started to use farthingales in Spain, and court fashion then followed suit. An example of how this was able to spread and gain international influence is that Catherine of Aragon is said to have brought this fashion into England on her marriage to Arthur, Prince of Wales, in 1501. Leading from this, the farthingale was able to have a wide impact on both the European monarchic and general fashion.

The apparel in Spain was often made of rich and heavy fabrics and decorated with gold or silver threads. These styles, however, did not adapt with the rapidly evolving times, thus rendering traditional Spanish fashion as somewhat outdated, allowing French fashion to emerge, with cities such as Paris leading the way in 17th century European fashion through its more appealing innovation.

Nowadays, whilst Spanish fashion is very modern, traditional clothing is still used for special events. For example, the traje de luces (‘suit of lights’) which is the traditional costume worn

by Spanish bullfighter, characterised by the use of sequins, gold and silver threads, and detailed embroidery, has remained very similar since the 19th century.

Eniola

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La présentation du corps des femmes dans la mode parisienne Lorsque l'on pense à la mode, la première image qui vient à l'esprit est celle des centres mondiaux de la mode : Paris, Milan, Londres et New York. Paris est également le siège de nos plus grandes maisons de couture et des créateurs les plus célèbres du monde. Le développement de la mode et du style s'accompagne souvent d'une objectivation du corps humain, et le style parisien ne fait pas exception à la règle.

Le style parisien est tristement célèbre pour être adapté à un type de corps, une taille et un "look" spécifiques. L'émergence du "supermodel" dans les années 90, dérivé du premier supermodel au monde, Lisa Fonssagrives, a inévitablement eu une énorme influence sur le standard de beauté d'une femme dans la société. Étant donné que Paris a toujours été le foyer de la mode, les effets de ces influences ont été les plus importants dans la mode parisienne.

La mode parisienne consiste à être sans effort, tout en se distinguant, et à ne jamais être exagérée. Cependant, ce n'est un secret pour personne que ce ne sont pas les seuls ingrédients nécessaires pour obtenir le look parisien, et il serait naïf de contester l'idée que le corps qui "doit" venir avec, et cette idée a été renforcée à l'époque des supermodèles emblématiques, tels que Kate Moss, Naomi Campbell. Par conséquent, étant donné l'influence que Paris a exercée, et exerce toujours, sur le reste du monde, ce look est devenu le "it look", également connu sous le nom de "je ne sais quoi". La preuve en est qu'aujourd'hui encore, les marques françaises de luxe telles que Chanel n'ont pas encore inclus de modèles féminins qui diffèrent de cette norme. Les plus grandes représentations de la norme de beauté française ont été Brigitte Bardot et Jane Birkin, qui conservent également ce look. De plus, bien que les normes de beauté françaises soient plus éloignées de l'idée de beauté plus moderne ou américanisée, qui a davantage recours à la chirurgie esthétique, elles comportent toujours des éléments qui peuvent être considérés comme inaccessibles ou malsains pour le commun des mortels.

Un autre élément qu'il est impératif de prendre en considération est l'idée que le look parisien enlève la féminité d'une femme. Le corps qui est "nécessaire" pour correspondre au style d'une Parisienne est sans aucun doute inaccessible pour de nombreuses personnes, car elles ont tendance à avoir des seins et des fesses plus petits. Cela laisse la place à un très petit nombre de personnes qui pourraient potentiellement avoir accès à ce look. En outre, les cheveux en désordre, ou qui sortent tout juste du lit, font également partie de ce look. C'est là que les caractéristiques raciales commencent à être discriminées, car elles ne tiennent pas compte des autres types de cheveux, comme les cheveux afro.

D'un autre côté, il est important de noter comment les perceptions et les connotations du look changent au fur et à mesure que nous parlons.

L'attente des Parisiennes n'est pas leur faute, mais plutôt de celle de la société occidentale.

Les incarnations modernes de ce look, comme Camille Charrière, commencent à admettre 7

qu'elles sont privilégiées aux yeux des Parisiennes parce qu'elles ont naturellement ce look, sans pour autant s'en excuser. Elle se réapproprie le look d'une nouvelle manière qui le rend accessible à tous. Redéfinir le look pourrait signifier que tout le monde pourrait l'obtenir, et en le modifiant en fonction des changements modernes, il y aura un effet important et bénéfique pour notre société.

The presentation of women’s bodies in Parisian fashion When one thinks of fashion, the first image which is often brought to mind is the world’s fashion centres; Paris, Milan, London, and New York. Paris is also the home to our greatest fashion houses as well as the most successful designers in the world. Along with the development of fashion and style, objectification of the human body often comes with it, and Parisian style is no exception to this.

Parisian style is infamous for being tailored to a specific body type, height, and “look”. The emergence of the “supermodel” in the 90s, derived from the world’s first supermodel Lisa Fonssagrives, which inevitably had a huge influence on the beauty standard of a female in society. Given that Paris has always been the home of fashion, the effects of these influences have been most prevalent in Parisian fashion.

Parisian fashion consists of being effortless, yet still standing out, and never being overdone. However, it is no secret that these are not the only ingredients necessary to obtain the Parisian look, and it would be naïve to argue against the idea that the body that “must” come with it, and this idea was further enforced around the time of the iconic supermodels, such as Kate Moss, Naomi Campbell. Therefore, given the influence which Paris had, and still has on the rest of the world, this became the “it look” also known as the “je ne sais quoi” look. This is evidenced, as, even today luxury French labels such as Chanel have yet to include female models which differ from this standard. The biggest representations of the French beauty standard have been Brigitte Bardot and Jane Birkin, who also maintain this look. Moreover, although the French beauty standards are further away from the more modern, or Americanised idea of beauty, which is more prone to cosmetic surgery, they still have elements which can be deemed as unattainable, or unhealthy to the average person.

Another element which is imperative to consider, is the idea that the Parisian look removes the femininity from a woman. The body that is “necessary” to fit the style of a Parisian woman, is doubtlessly unattainable to many people, as they tend to have smaller breasts and behinds.

This leaves room for a very small number of people who could potentially have access to this look. Not only this, but another part of this look is the messy, or just got out of bed hair. This is where racial features begin to be discriminated against, as it does not consider any other hair types, such as afro hair.

On the other hand, it is important to note how the perceptions and connotations of the look are changing as we speak. The expectation of the Parisian women is not their own fault, but more of a fault of western society. Modern day embodiments of this look, such as Camille Charriere, are beginning to own up to 8

being privileged in Parisian eyes for naturally having this look, yet not apologising for it. She re-owns the look in a new way which allows it to become accessible for everyone. Redefining the look could mean that anyone could obtain it, and by editing it according to modern changes, there will be a large and beneficial effect for our society.

Jasmine

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What makes Italian fashion unique Italy is the home to many successful fashion designers and brands which have had a heavy influence on the world of fashion, and the concept of la bella figura originated here. The craftsmanship and production of leather goods is arguably what Italy is most well-known for and many say, “the tension between productivity and creativity is what makes Italian fashion stand out”.

Italy’s craftsmanship dates back to the end of the second world war, as due to the fall in the economy, citizens were forced to take up entrepreneurial attitudes, and rely on manufacturing to make a living, and this is what kickstarted il miracolo economico. This adds to the personalised and unique feeling one gets from Italian goods, as they are usually handmade. It also creates the idea that each item has a backstory and a deeper meaning Another element which makes Italian fashion unique, is the drive to improve, the fact that they are never satisfied and always want to do it better, down to each and every detail. This is why Italian leather is the most appreciated in the world as there is never a stitch out of place, and as Massimo Giorgetti said “If something is Made in Italy, you can recognise the aesthetic: not only is the fabric well done, it’s happy!”. To Italian designers, La Dolce Vita isn’t simply a film, it’s a way of life and a lens through which their creativity is inspired, which gives Italian fashion a unique and special feel, as it is not just about what you are wearing, but more about how you feel in what you’re wearing.

Cosa rende unica la moda italiana L'Italia è la patria di molti stilisti e marchi di successo che hanno avuto una forte influenza sul mondo della moda, e il concetto della bella figura è nato qui. L'artigianato e la produzione di articoli in pelle è probabilmente ciò per cui l'Italia è più conosciuta e molti dicono che "la tensione tra produttività e creatività è ciò che distingue la moda italiana".

L'artigianato italiano risale alla fine della Seconda guerra mondiale, poiché a causa della caduta dell'economia, i cittadini sono stati costretti ad assumere atteggiamenti imprenditoriali e a fare affidamento sulla produzione per guadagnarsi da vivere, e questo è ciò che ha dato il via al miracolo economico. Questo si aggiunge alla sensazione di personalizzazione e di unicità che si prova con i prodotti italiani, dato che di solito sono fatti a mano. Crea anche l'idea che ogni articolo abbia una storia e un significato più profondo Un altro elemento che rende unica la moda italiana è la spinta a migliorare, il fatto che non sono mai soddisfatti e vogliono sempre fare meglio, in ogni dettaglio. Per questo la pelle italiana è la più apprezzata al mondo, perché non c'è mai un punto fuori posto, e come diceva Massimo Giorgetti "Se qualcosa è Made in Italy, si riconosce l'estetica: non solo il tessuto è ben fatto, è felice!". Per gli stilisti italiani, La Dolce Vita non è semplicemente un film, è uno stile di vita e una lente attraverso la quale la loro creatività è ispirata, che dà alla moda italiana una sensazione unica e speciale, in quanto non si tratta solo di ciò che si indossa, ma più su come ci si sente in ciò che si indossa.

Jasmine

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Missoni Il business Missoni è stato fondato nel 1953 dopo che un piccolo negozio di maglieria inizialmente chiamato Maglificio Jolly è stato creato a Gallarate, Italia da Ottavio e Rosita Missoni. Dopo che la loro prima collezione è stata presentata con il marchio Missoni a Milano nel 1958, il business ha iniziato a prosperare con l'aiuto dell'editore di moda Anna Piaggi.

Missoni ha guadagnato il supporto di Anna Piaggi durante la loro prima sfilata che ha avuto luogo in una piscina quando Piaggi è arrivata alla sfilata indossando un abito Missoni vintage.

L'azienda divenne presto sempre più popolare con il suo abbigliamento creativo: strisce, patchwork, mosaici e zigzag in combinazioni di colori vivaci.

Nell'aprile 1967 in una sfilata a Firenze Missoni ebbe un malfunzionamento del guardaroba, il che significa che non furono invitati a tornare l'anno successivo. Nonostante questo, fu aperta una boutique Missoni a Bloomingdales in seguito al sostegno e all'ammirazione di Diana Vreeland, redattrice di American Vogue. In seguito, il nome Missoni poteva essere trovato su mobili per la casa, accessori, costumi da bagno, cosmetici e profumi.

Il controllo dell'azienda Missoni è passato ai tre figli di Ottavio e Rosita Missoni: Vittorio Missoni come direttore marketing, Luca Missoni come designer di abbigliamento maschile e Angela come designer di abbigliamento femminile. Nel 2005 Missoni guadagnava il 60-70% delle sue entrate dall'abbigliamento femminile. Tuttavia, mentre il successo arrivava, arrivava anche la tragedia, e il 4 gennaio 2013 un aereo con a bordo Vittorio Missoni è scomparso al largo della costa del Venezuela, e il suo corpo è stato recuperato 5 giorni dopo insieme ai resti dell'aereo. Più tardi, nel maggio dello stesso anno, Ottavio Missoni morì all'età di 92 anni.

Nel 2018 la famiglia Missoni ha venduto una quota del 41,2% dell'azienda al fondo di investimento Fondo Strategico Italiano e nel 2012 la linea femminile è stata rilevata da Alberto Caliri mentre Angela ha assunto il ruolo di direttore creativo e presidente di Missoni. Angela continua il successo del marchio di maglieria di famiglia nel ruolo di direttore creativo fino al 2021 quando diventa presidente. Oggi, Livio Proli ha assunto il ruolo di amministratore delegato di Missoni durante il primo blocco italiano dopo il suo lavoro con Armani, e Angela rimane presidente. Di seguito alcuni dei recenti disegni di Missoni, il colore sorprendente che ha iniziato nel 1953 rimane ancora oggi.

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Missoni The Missoni business was founded in 1953 after a small knitwear shop initially called Maglificio Jolly was set up in Gallarate, Italy by Ottavio and Rosita Missoni. After their first collection was presented under the Missoni label in Milan in 1958, the business began to prosper with the help of the fashion editor Anna Piaggi. Missoni gained the support of Anna Piaggi during their first fashion show which took place in a pool when Piaggi arrived at the show wearing a vintage Missoni dress. The company soon became increasingly more popular with its creative clothing: stripes, patchworks, mosaics and zigzags in bright colour combinations.

In April 1967 in a show in Florence Missoni had a wardrobe malfunction, which meant that they were not invited back the following year. Despite this, a Missoni boutique was opened in Bloomingdales following the support and admiration from Diana Vreeland, an editor of American Vogue. Following this, the Missoni name could be found on home furnishings, accessories, swimwear, cosmetics and perfume.

The control of the Missoni business was handed down to the three children of Ottavio and Rosita Missoni: Vittorio Missoni as marketing director, Luca Missoni as menswear designer and Angela as womenswear designer. By 2005 Missoni earned 60-70% of its revenue from womenswear. However, as success came along, so did tragedy, and on the 4th of January 2013 a plane carrying Vittorio Missoni went missing off the coast of Venezuela, and his body was recovered 5 days later along with the remains of the aircraft. Later on that year in May, Ottavio Missoni died at the age of 92.

In 2018 the Missoni family sold a 41.2% stake in the company to investment fund Fondo Strategico Italiano and in 2012 the women’s line was taken over by Alberto Caliri as Angela took on the role of creative director and president of Missoni. Angela continued the success of her family’s knitwear brand in the role of creative director until 2021 when she became president. Today, Livio Proli took on the role of CEO of Missoni during the first Italian lockdown after his work with Armani, and Angela remains president. Below are some of the recent Missoni designs, the striking colour that began in 1953 still remains today.

Jemima

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সব#সাচী মুখা*জ, সব#সাচী মুখা*জ, কলকাতা 0থেক একজন ভারতীয় ফ#াশন এবং জুেয়লাির িডজাইনার। ও বিলউড িসেনমার 0যমন Guzaarish, Kaahani, Baabul, Black এবং English Vinglish জন# 0পাশাক িডজাইন কের। ও আধD িনক 0পাশােক মানসEF কাপেড়র ব#বহার IরJ কেরিছেলন। বLনী, 0গাটা কাজ, Oক িPQং, হ#াRডাইং PভSিত শাTীয় পUিতর ব#বহার িছল তঁ ার অনন# অবদান। সব#সাচী ওর ভারতীয় িবেয়র 0পাশােকর জন# িবেশষভােব িবখ#াত। 2006 সােল, িনউ ইয়কZ ফ#াশন স[ােহ সব#সাচীর উপ\াপনা তােক িব]ব#াপী খ#ািত অজZন কেরিছল। ওর 0পাশােক ^#ামার, সরলতা, আধD িনক \াপত# এবং জ_ল িববরণ িছল। ও একমাa ভারতীয় িডজাইনার 0য িতনেট Pধান ফ#াশন স[াহ: িনউ ইয়কZ , িমলান এবং লRেন িছেলন। ভারতীয় িডজাইনাররা পিbেম এক_ cাদ িনেয় আেস যা িবেদশী এবং ব#িdগত িহেসেব 0দখা হয়। তঁ ার জe\ান, কলকাতা, এই িডজাইনােরর জন# আজীবন অনুেPরণা হেয় আেছ। ও অcাভািবক কাপড়, 0টfচািরং, িডেটইিলং এবং ghনশীল রেঙর অলjরণ সহ প#াচওয়াকZ ব#বহার কেরন। ওর সৃl Pাচীন ও মধ#যD েগর িচa তDেল ধেড়। তার দাতব# অলাভজনক িভিmেত হােত 0বানা শািড় 3500 টাকায় িবিn কের এবং পুেরা আয় মু*শ,দাবােদর তঁ ািতেদর কােছ যায়। সব#সাচী কারJকাজ করা িববােহর 0পাশাক এবং জ_ল কাপড় িডজাইন কেরন। িডজাইনার িবoSত িব] 0থেক অনুেPরণা আঁকেত পিরিচত, 0যমন ইউেরাপীয় িশp। তার 0পাশাক Monet, Henry Matisse এবং Frida Kahlo অনুকরণ কের।

Reviving India’s Handlooms Sabyasachi Mukherjee is an Indian fashion designer, jewellery designer, retailer and couturier from Kolkata, India. He has designed costumes for Bollywood films such as Guzaarish, Kaahani, Baabul, Black, and English Vinglish.

He pioneered the use of high-end luxury Indian textiles in a modern context. His unique contribution was the use of classical methods like bandhani, gota work, block printing, hand dyeing etc. in construction of modern silhouettes. Sabyasachi is especially famous for his Indian Bridal Wear.

In 2006, Sabyasachi’s debut S/S collection at New York Fashion Week earned him critical acclaim and his label gained global recognition. The collection was based on folklore, glamour, simplicity, modern architecture, and intricate detailing. He is the only Indian designer to be a part of all three leading fashion weeks: New York, Milan, and London.

Sabyasachi believes that the unique positioning of Indian designers is due to the exclusivity of his homeland with its rich history and culture. Indian designers bring a flavour to the west that is no longer perceived as only exotic but also a rich blend of individuality and sensitivity.

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His hometown, Kolkata, has been a lifelong inspiration for this designer who believes that "clothes should just be an extension of one's intellect". He uses unusual fabrics, texturing and detailing, fusion of styles, patchwork with embellishments in vibrant colours. His creations evoke images of ancient and medieval ages. He describes his own collections as "an International style with an Indian soul". His charity, “Save the Saree” retails hand-woven Indian sarees on a non-profit basis priced at Rs. 3500 & the entire proceed goes to the weavers of Murshidabad.

He designs crafted bridal wear and rigorously structured pieces. On occasion, to the delight of his global audiences, the designer is known to draw inspirations from the wider world, such as exotic, indigenous ethnic European art inspired by French impressionists like Monet and Henry Matisse or even Frida Kahlo in his clothes.

Vanessa

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Wie hat sich die Damenmode nach dem Ersten Weltkrieg verändert?

Nach dem Ersten Weltkrieg trat Adolf Hitler einer politischen Partei bei, die als Nationalsozialistische Deutsche Arbeiterpartei (NSDAP) bekannt ist. 1933, als Hitler an die Macht kam, war es ein entscheidender Punkt für die NSDAP, aber auch für Damenmode.

Mit dieser neu gefundenen Macht versuchte Hitler, jeden Teil des Frauenlebens zu kontrollieren. Bekannt als Deutsches Moderat, ein Modeinstitut, das Hitler geschaffen hat, wurden viele Ideen fuer die idealen Frauen vorgestellt. Hitler selbst hatte viele negative Ansichten über Abneigung gegen Make-up und verbreitete Propaganda, dass der Lippenstift tierische Abfälle enthält. Er mochte auch Parfuem und Haarfärbemittel nicht, alles, was scheinbar eine extravagante Form des Selbstausdrucks war. Hitler drängte auf Roecke, weil Hosen als zu unweiblich galten. Er verkündete: “Berliner Frauen muessen die am besten gekleideten in Europa werden”. Im Wesentlichen bestand das Deutsche Moderat, das mit voller staatlicher Unterstützung gegründet wurde, um den ‘fascist in fashion’ zu bringen. Deutsche Designer, deutsche Materialien, deutsche Stile wurden alle gefoerdert, aber natürlich bedeutete Deutsch arisch, was dazu fuehrte, dass die überwiegende Mehrheit des Textilhandels und der High-Society-Designer lahmgelegt wurden. Das Institut zielt darauf ab, die Feier der Tradition zu fördern und Dirndls, Mieder und Tiroler Jacken im Trend herzustellen. Am wichtigsten war jedoch der Wunsch Hitlers, den französischen Einfluss auszulöschen. Der “Garconne”-Stil, der populär geworden war, rief Reaktionen wie “maskulinisiert”, “französisch dominiert” und “giftig” hervor. Der Stil von kurzen Haaren, kürzeren Saumlinien, Hosen und sichtbarem Make-up fuehrt zu moralischer Verschlechterung der deutschen Frauen.

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How has women’s fashion in Germany changed after world war 1 After World War I, Adolf Hitler joined a political party known as Nationalsozialistische Deutsche Arbeiterpartei. In 1933, when Hitler came into power, it was a pivotal point for the NSDAP but also for women's fashion. With this newfound power, Hitler went about trying to control every part of women’s life. Known as Deutsches Modeamt, a fashion institute Hitler created, many ideas for the ideal women were introduced. Hitler himself had many negative views on feminine adornment; he had a strong dislike for makeup, spreading propaganda that lipstick contains animal waste. He also disliked perfume and hair dye, anything that was an extravagant form of self expression. Hitler pushed for skirts because trousers were deemed too unfeminine. He proclaimed that: ‘Berlin women must become the best dressed in Europe’. In essence, the Deutsches Modeamt, established with full governmental support, existed to put the fascist into fashion. German designers, German materials, German styles were all promoted but of course, German meant Aryan which led to the vast majority of textile trade and high society designers being knocked out. The institute aimed to promote the celebration of tradition, making dirndles, bodices and Tyrolean jackets all the rage. Most importantly, however, was the desire Hitler had, to extinguish French influence.

The “Garconne '' style that had become popular globally post World War I, had reactions such as "masculinized", "French-dominated," and "poisonous." The style of short hair, shorter hemlines, trousers and visible makeup cause moral degradation of German women.

Sherla

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Tamil Fashion Tamil Nadu, situated in the Southernmost part of India, and Tamils have migrated to various parts of the world – Malaysia, Canada, Singapore and most importantly Sri Lanka.

Tamil culture and history is famous for its extravagant temples, relishable food and rich culture. A significant part of its culture is its fashion, eye-catching, colourful, and vibrant, mirroring Tamil culture. A myriad of materials such as cotton, chiffon and silk are used in the dresses.

The main item of clothing is the sari and this holds the upmost significance. Women wear it their everyday lives, temples, offices, parties, weddings and more. Saris are such a staple part of Tamil fashion. Saris are admired mainly due to its intricacy, exquisite designs, and elegant artwork. There are various sari types, but the Kancheepuram sari is especially known for its design. Its colour, texture and styles are different to North Indian Saris.

Pavada on the other hand is worn by young girls before getting married, the dress consists of a half sari – full length skirt with a short blouse and shawl known as Davani. It resembles youth, beauty and tradition on Tamil girls. In recent years, Salwar Kameez has become a popular garment amongst the women of Tamil Nadu despite its huge prominence in North India.

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In addition, no outfit is fully complete without the accompaniment of accessories such as gold jewellery, bangles, and earrings. Gold holds importance in Tamil culture due to it being a resemblance of wealth but also its beauty.

Tamil fashion has been an integral part of culture for years, with its reputation being incorporated into movies and music, but nevertheless Western Culture has left its impact with the increase in the number of people wearing jeans, tracksuits.

Despite this, Tamil fashion will always be a prominent part of its culture with its rich authenticity and artwork.

Neesha

Est ‘Emily à Paris’ une bonne représentation de la mode française?

Fin décembre 2021, dans les jours suivant le lancement de la saison 2 de la série Netflix, ‘Emily in Paris’, les tenues invraisemblables de l’héroïne, Emily, étaient vues par des millions de personnes. Toutefois, je pose la question essentielle: est-elle vraiment une bonne représentation du monde de la mode français ? Avec des styles mis en place par Marylin Fitoussi, en collaboration avec la célèbre styliste Patricia Fields, le talent derrière les looks incroyables de la série ‘Sex and the City’, la star Emily et ses copains arborent des looks vraiment accrocheurs.

On ne peut s'empêcher de remarquer que les tenues d'Emily sont loin de refléter la façon dont les jeunes femmes s'habillent maintenant. Certains voient pourtant dans le défilé de mode sauvage d'Emily un clin d'œil à la collection haute couture printemps-été 2019 Viktor & Rolf présentée juste avant que Netflix ne commence son tournage. Tout au long de la série, on nous répète que le personnage n'est pas chic et même qu'Emily ne s'intéresse pas du tout à la mode. Souvenez-vous du moment où Sylvie assène son “Elle n'a pas les références”.

Ce qui a vraiment exaspéré les fans de mode, c'est la vision épouvantable d'Emily sur le style français. Au lieu de sans effort, elle nous a donné un supplément (et pas dans le bon

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sens). Elle portait des imprimés animaliers, des couleurs contrastées, des bobs et des bérets - souvent tous à la fois. Son chemisier Tour Eiffel était collant au maximum.

Ce qui était un peu le but, comme l'a révélé la costumière Patricia Fields. "Elle veut impressionner", a-t-elle déclaré. Le chemisier offensant susmentionné était "un clin d'œil à son enthousiasme d'être là - c'était intentionnellement cliché".

Is ‘Emily in Paris’ a good representation of French fashion?

At the end of December 2021, in the days following the launch of season 2 of the Netflix series, 'Emily in Paris', the unlikely outfits of the heroine, Emily, were seen by millions of people. However, I ask the essential question: is she really a good representation of the French fashion world? With styles put together by Marylin Fitoussi, in collaboration with celebrity stylist Patricia Fields, the talent behind the incredible looks from the 'Sex and the City' series, star Emily and her pals sport some seriously eye-catching looks.

One can't help but notice that Emily's outfits are far from reflecting the way young women dress now. Some, however, see Emily's wild fashion show as a nod to the Viktor & Rolf Spring/Summer 2019 haute couture collection shown just before Netflix began filming.

Throughout the series, we are told that the character is not chic and even that Emily is not interested in fashion at all. Remember when Sylvie says “She doesn't have the references”.

What really infuriated fashion fans was Emily's appalling take on French style. Instead of effortlessly, she gave us an extra (and not in a good way). She wore animal prints, contrasting colors, bucket hats and berets – often all at once. Her Eiffel Tower blouse was tacky to the max. Which was kind of the point, as costume designer Patricia Fields revealed. "She wants to impress," she said. The aforementioned offensive blouse was "a nod to her excitement to be there - it was intentionally cliche".

Sakina

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