Fashioning The future Flashcards
‘Fashioning the Future’ exhibits costumes from the _____ through the ______ century
18th - 20th
Flashing the Future exhibit demonstrates how we ________ past styles, silhouettes, and design elements in fashionable dress
Revive
As you study the Fashioning the Future exhibition, the revival styles displayed are not strict replications but ________ of historic clothing with a new twist
Variations
Creative reinterpretations of historical styles are more an ________ of a design than a direct copy
Evolution
The new garments of historical style reflect changes in ______ and influences of new _______ that affect our lives
Society
Technology
What are the 3 themes of the exhibition?
Classical
14th-16th Century
Elizabethan Artificiality
The garments in this exhibition were chosen to represent ______ dress styles, not _______ dress
Fashionable
Fancy
The _______ borrowed from the Greeks
Romans
The _________ style had begun to emerge in art and literature in he late 70s
Postmodern
Why did classical style of dress (Greek and Roman) and antique hairstyles continued to be revived in the 18th century?
The reverence given to classical art, architecture, literature, philosophy and rhetoric in the early development of universities and colleges throughout Europe
Why did classical style of dress (Greek and Roman) and antique hairstyles continued to be revived in the late 18th-19th century?
The express their aesthetic (ideal beauty as simple and natural) of political (equality and democracy)
The most productive designer of court masques in the 17th century
Inigo Jones
Collector of antique sculpture in the 17th century
Earl of Arundel
It was in during the 18th century that _______ dress became the inspiration for women’s high fashion
Classical
It was in during the ______ century that classical dress became the inspiration for women’s high fashion
18th
________ inspired dress had always assumed the role of timelessness, for it was considered somewhat _______
Classical
Exotic
Philosopher who set the stage for a gradual acceptance of the classical style as a fashionable garment to wear in public
Jean Jacques Rousseau
Rousseau _________ dress reflected desired attributes of the domestic role
Classical
Many ______ century moralists believed unhealthy dress was immoral because adherence to their dictates often caused ________ hardship
18th
Economic
Used simplicity as one of his art principles in the 18th century
William Hogarth
The 18th century is known as the age of __________
Neoclassicism
This Greek god was the most popular classical subject for artists
Venus (Aphrodite)
The discoveries of the ancient Roman cities of ________ and ________ peaked interest in the classical world during the 18th century
Pompeii and Herculaneum
German Archeologist who believed that modern artist during the 18th century could arrive at principles of true beauty by studying Greek sculpture
Johann Joachim Winklemann
French artist who was indirectly influenced by Winklemann and responsible for the infusion of the classical style in France
Jacques Louis David
1st president of the Academy of Art in England
Sir Joshua Reynolds
The Royal Academy of Art in England was established in theory for the preservation of __________ ideals
Neoclassical
At the height of the French revolution, men wisely chose a style known as _________, which consisted of garments closely linked to the dress of an English country gentleman
Sans-culottes
Classical inspirations for men in the 18th century were seen in the hair style __________ or _________
Á la Titus or Brutus
In the 18th century in France, classical garment for men appeared in the designs for “a national costume based on ________”
Reason
Napoleons requested this designer to create new designs for government officials
Carle Vernet
Acceptance of the classical style of dress for women occurred in France after women had adopted the looser ________ which was introduced by the English in the _______
Chemise
1770s
After the fall of the Jacobins, during the Directory, elegant fashionable women adopted very skimpy ______ dress
Classical
In France, classically inspired dress continued to be worn into the 2nd decade of the ______ century, after which women slowly returned to heavily boned bodices and cinched waists which prevailed until the end of the ______ century
19th
19th
Were women well supported under revealing classical gowns during the 18th century although
Yes
Did advocates of women’s clothing reform have diverse interest and political agendas
Yes
What 3 things did reform dress include
Different styles of trousers
More rational underwear
Artistic gowns based on classical dress
T/F
Not all reformers want to improve women’s health
False
2 Physical education reformers of the 19th century
Catherine Beecher and Dio Lewis
Notes physician and health reformer who advocated for creating more rational underwear for women during the late 1800s
John Kellogg
Company that began offering classically inspired artistic reform gowns in 1884. They had well established shops in Paris and other cities as well as numerous depots for their fabric
The Liberty Company
T/F
There were dress reform departments in large stores during the 20th century in Europe
True
Used wool or silk jersey to create timeless pleated and draped evening gowns which are often cited as perfect examples of neo-classicism in fashion
Madame Grés (real name - Germaine Barton)
Historicism occurs in history, and is reflected in society’s cultural milieux of _______ and _______
Literature and art
An art that had its beginnings in the late 19th century. It was a reaction against the traditional religious, mythical, historical, and literary matters of fine art. It became streamlined and abstract
Modern art
The revived importance of meaning and content in art, as well as a return to traditional subject matter and relativism
Post modern era
A period of wide diversity of styles, with no as yet discernible centralizing theme
Post modern
The Greek himation was a large rectangular-shaped outer garment usually draped over the shoulder and was the inspiration for the Roman ______
Toga
Reason was the key idea of ________
Enlightenment
After the revolution in America and France near the end of the 18th century, simpler styles of clothing based on _______ and ______ ideals of beauty and _________ emerged
Greek and Roman
Democracy
Early 20th century fashions experienced a classical revival, influenced by ______ ______ dress and its philosophy of beauty based on the Greek classical ideal
Artistic reform
What are the 3 design styles of Greece
Peplos
Chiton
Himation
Extensive use of ______ for outergarment linings or edge trim was common in northern regions of Europe during the 14th-16th centuries
Fur
15th century technique produced by cutting into the edges of a garment 1in-2in, producing a scalloped, foliate, or crenelated effect. It mimicked the tops of castle turrets. It was most often located around the hems of hoods, sleeves and garments
Dagging
15th century technique initiated by the Swiss in which seams of garments remain open, exposing colorful linings or undergarments
Slashing
_______ variations contributed to the creation of distinctive dress from the 14th-16th centuries
Sleeve
What 3 design elements appeared frequently in fashionable dress throughout the 19th century
Neo-medieval
Neo-gothic
Italian renaissance
________ and ________ styles were again revived for the artistic dress movement of the late 19th century, and continued as an influence into the 1st decades of the 20th century
Medieval and Renaissance
A revival of ______-style clothing constructed of stretch velvets and velours in designer collections for the Fall 1993 fashion season continued the historicism into the post modern decades
Gothic
The variety of historical periods visited by fashionable dress during the last two decades of the 20th century reflect the span of _______ _______ historical dress rather than one specific era
Western European
The era of fashionable clothing styles worn in Western Europe between 1520-1620 that consisted of stiff and contrived forms alien to the natural shape of the human body
The Reformation and Elizabethan England
The ensuing rivalries between England, France, and Spain in addition the religious rift created by the Reformation was reflected in an artistic style that was both ________ and _______
Repressed and contrived
During the Elizabethan era, the bodies of ______ and ______ were distorted from the natural human form by fashionable apparel
Men and women
The extremely padded and broad-shouldered silhouettes of Henry VIII were later revived in the sleeves of _______ dresses, which were themselves revived in women’s sleeves of the 1890s
1830s
A form of hooped petticoat that formed the conical shapes of women’s skirts, bodices, and sleeves during the 16th and early 17th century
Farthingales
Men’s jackets that were padded in the chest, a style that would be revived in men’s clothing in the mid 19th century
Doublets
Pocket hoops that artificially hold a gown out at the sides. Worn during the mid to late 18th century
Panniers
Drawstrings forming a bustle with 3 divisions that pulled up trailing hems of late 18th century gowns
A la polonaise
After the mid and late 18th century, distended and contrived body shapes did not resurface again until the _____ _______ century
Mid 19th century
The distended skirts and crinolines of the mid 19th century and the bell-shaped pagoda sleeves mirrored styles worn during the ______ era and the hoop petticoat of the ______ century
Elizabethan
18th
Many of the decorative details of the wide skirts from the 2nd Empire of France were based on ________ layering and festooning
Rococo
The drapery of the skirt bustles of the 1870s and 1880s mirrored the ________ dresses from a century earlier
Polonaise
