Dezyne E'cole College. www.dezyneecole.com

1. Tanuja Sahu
2nd Year Diploma In Fashion Design (NSQF Level 6 Of NSDC)
Dezyne E’cole College, www.dezyneecole.Com
FASHION
HISTORY

2. Project Report On
Fashion History
At
Dezyne E’cole College
Submitted To
Dezyne E’cole College
Towards
The Partial Fulfilment Of
2nd Year Diploma In Fashion Design
NSQF Level 6 Of NSDC
By
Tanuja Sahu
Dezyne E’cole College
106/10 Civil Line Ajmer
2017-18

3. The Project Of Ms. Tanuja Sahu Student Of 2nd Year Diploma In Fashion Design Confirming To NSQF Level 6
of NSDC Has Been Checked And Graded As
Thank You
Principal
[Seal & Signature]

4. Acknowledgment
I Am Tanuja Sahu Student Of Fashion Department 2nd Year Diploma In Fashion Design NSQF Level 6 Of
NSDC Of Dezyne E’cole College Would Like To Express My Gratitude To Each And Every Person Who Has
Contributed Stimulating Suggestions And Encouragement Which Really Helped Me To Coordinate My
Project.
I Also Thank Dezyne E’cole College Who Provided In Sight And Expertise That Greatly Assisted The Project.
Also, A Special Thanks To My Teachers, Parents And Colleagues Who Have Supported Me At Every Step Not
To Forget, The Almighty Who Blessed Me With Good Heath Because Of Which I Worked More Efficiently
And Better.
Tanuja Sahu
2nd Year Diploma in Fashion Design
(NSQF Level 6 of NSDC)

5. 1) Ancient World
2) Medieval TradeAnd Romance
3) Renaissance Period
4) Baroque And Rococo
5) From Revolution To Frivolity
6) La Bella Époque And Jazz Age
7) From Glamour To Utility
8) Optimism And Youth
9) Swinging Sixties
10) The Designer Decade

6. For designing any collection a designer must focus on how, why and what he or she has to come up with
in his storyboard and what kind of look the designer want to showcase according to the research and
form the extracted page of look book created by while choosing the extract design collection.
But the most important question that arises while making and showcasing the collection is that why
people will accept that design?
For all these question the best answer with a designer is the evolution of clothing and historian time
period.
The upcoming pages of the project will deal with when did fashion started and what changes came into
the dressing of the people in different geographical location of the word and how social grounds
influenced the evolution of clothing.

7. Many shapes and styles in dress date back thousands of year having necessity, function and the material available as
their starting points From such crude beginning wonderful piece of embroidery decoration and reinforcement at the
same time. From the beginning we meet to splendor beautiful and full of utility garment. The ancient world is a
jigsaw of images and objects that historians are trying to piece together Painting, sculpture, artifacts and scraps of
clothing and jewelry all provide clues as to how people lived and dresses sophisticated technology influenced each other
as cultures met through war exchange.
• EGYPT
• MINOAN CULTURE
• CLASSICALGREECE
• ROMANS
• BYZANTINE STYLE

8. For three thousand years almost all clothing worn by the Ancient Egyptians was of linen made from flax grown in the
Nile valley. The fabric suited the hot climate because it was cool and airy. Clothes were very simple in shape with minimal
cutting of cloth Half-ripe flax stems made the best thread. The fibers were beaten until soft. The fibers were twisted
into strong thread. The weaving was done on the loom. White linen had to be washed a couple of times. They washed
it in the river or canal rinsed then it was pounded on a stone. After that it was pounded on stone. After that it was
bleached in the sun The silhouette was influenced by two key factors: the fitness and finish of the lining either left with a
natural crimp laundering or arranged in crisp pleats and by the wearing of decorative collars and belts. These
accessories were rich in colour and texture.

9. • HEADWEAR:- Although heads were shaven as both as a sign of nobility and due to the hot climate, hairstyles was a
huge part of Ancient Egyptians fashion through the use of wigs.
• JEWELLERY:- It was common for Ancient Egyptians to be covered in jewellery, however the upper classes wealth
allowed them to be more lavish, with jewellery made from gold and silver among other items. Accessories were
embellished with precious stones such as emeralds pearls and lapis lazuli.
• FOOTWEAR:- Wore during the new kingdom. Made of leather or papyrus fibre.
• MAKE-UPS:- Kohl eyeliner made of Galina ore. They use to prevent from insects, evil eye, inflamation, allergy and dust.
Rouge which was made of ochre. Eye shadow which was made of malachite which is red and green in colour. They use
Hena for the nail colour and hair.

10. CLOTHES WORNED BY EGYPTIANS WERE:-
• Loin Cloth:- A triangular piece of
cloth worn by commoners, nobilities
and royalties. Slaves were only allowed
to wear if after the formation of new
kingdom.
• SCHENTI:- A skirt which is
pleated in front worn by
nobilities and royalties. It was till
knee level. Till thigh level in the old
kingdom 3000 B.C. to 2000 B.C. It
was used to wrapped around the
hips which hung to folds in front.
• TUNIC:- A rectangular piece
of cloth with a hole in the enter
for the neck worn by pharaohs
after conquering Ceria.

11. Clothing in this period were simple, drape, folded in artistic manner shows elegance and grace. The garments were loose
fitted and free flowing , it was adaptable to other season. The fabrics were mainly linen or wool. Women also wore a
new with their clothing whenever they stepped out of the house.
The Ancient Greek fashion was quite modern in its outlook as far as men were concerned to the extent that male
nudity was really not a big deal in Ancient Greece.

12. The Loincloth was used for both men and women.
The women of Crete wore the garment more as an
underskirt than the men, by lengthening it.
Dresses too were long and the low-necked, like
those of the 19 centuary. They were so low
that the bodice was often almost all the way to
the waist.
Unlike the Egyptians, the schenti varied according
to its cut and normally was arranged as a short
skirt or apron ending in a point sticking out similar
to a tail.
A triangular front released the top of the thighs.
One could say it was clothing of an athletic
population, because of this and the fact that the
chest always was naked. It was sometimes
covered with a cask, probably ritualistically.
However, long clothing was worn for protection
against bad weather and eventually a coat of wool
was used by the Greeks.

13. MAINLY THERE WERE FOUR TYPES OF CLOTHES:-
• CHITON:- The key garment for
both men and women was
the chiton, tunic made of two
rectangles of cloth joined at
the shoulders and sides. The
chiton could be worn with a
himation or without it as
well. A belt was worn with
the chiton which was called
a zoster. It could be arranged
in many ways, and cut to
different lengths worn over
the chiton was a cloak-like
garment.
• HIMATION:-The himation
which was made of heavy
material for outdoors, or
of lighter cloth for a more
fashionable effect indoors
or in warmer weather. The
himation wasloose and
flowing, thus, it can be
termed as a modern
cloak it was also used as
a form of drapery to be
worn over the chiton.

14. • HAIRSTYLES:- Women loved to wear their hair long during this period. In the early days of Greece, men
normally wore their hair short and grew beards. Women curled and braided their hair in early Greece. Later
the style was to tie their hair back and put it up into a bun.
• JEWELLERY:- Jewellery did form a significant part of a ancient Greek fashion. Greece loved to wear all sorts of
jewellery with their following garments- bracelets, earrings and necklaces.
• MAKE-UPS:- Women used honey and olive oil to improve the skin. They often used substances as a
substitute for cosmetics enhancing their looks. Dark powder was dusted over the eyebrows and red
powder was used over their lips.

15. • PEPLOS:- Peplos was
gathered in at the waist
and partially fastened at the
top of the shoulder, allowing
free corners to drape. It
consisted of a tubular
shaped cloth this was folded
from the inside out. There
were certain types of
patterns that were used for
the peplos. Some of the
common patterns included
checks, flowers, waves or
even stripes.
• CHLAMYS:- Chlamys a
cape shaped like the
clamshell it was named
after, was originally worn
by soldiers but, like
many functional garments.
It was used as a cloak and
was pinned at the right
shoulder.

17. THE OTHER CLOTHES WORNED BY ROMANS WERE:-
• ARMOUR:- The
warfare dress
coat scale,
lamellar, mail and
plate, leather
fabric and
brigandine
armours.
• STOLA:- An
outermost
which was a
long pleated
dress similar
to the Greek
chiton.

18. Probably the most significant item in the ancient Roman was the Toga, a one-piece woolen garments that draped
loosely around the shoulders and down the body and they could be wrapped in different ways. Colours of toga and its
border was determined by the wearer ’s rank. Basically a semicircle the toga was woven on an upright loom, beginning with
long straight edge.

19. A fusion of Greek roman middle east and oriented styles indicate social status through clothing. The veils and silks worn
by women, and the T-shaped tunics and cloaks worn by men, were developed from Roman official dress. Poor working
people wore plain woollen tunics, knee-length for men, with leggings, boots and a long cloak on top. tunic. The dresses
were embellished with jewels pearls
• COSTUME:- There were the flowing embroidered gowns,
• FABRICS:- Imported silk, linen, wool their clothes skin or jewellery
• COLOURS:- Ancient people was dyes and pigment to dye

20. • PRIEST:- They
wore Toga
which was
completely
draped around
the body.
• TOGA:- A one-
piece woolen
garment that
draped loosely
around the
shoulder and
down the body,
wrapped in
different ways.

21. Men and women wore loose tunics based on rectangles sewn together in different styles and caught with belts. They
used to wear mantles draped over tunics with statues enhancing the lining, though leather and furs were also worn,
especially in the colder northern regions of Europe. Silk was extremely expensive item throughout the Medieval period .
• Age of migrations- 600- 1100
• Courtly love and crusades- 1100- 1200
• Priests and the people- 1100- 1450
• The east in the west- 800- 1450

22. • After western roman empire collapsed, people started migrating. To new areas, people needed warm, water,
repelling clothes in the cold climate, so wool was the main cloth used. Men and women wore loose tunics, based
on rectangular sewn together in different style and caught into belt. Mantles were draped over tunics and had
status enhancing for leaving. Linen shirts were worn as undergarments beneath tunics.
• ACCESSORIES:- Gold and enamel had symmetrical celtic patterns or the stylized animals favoured by Anglo-Saxons.
Women ’s fine embroidery, applied to hangings, capes and clothing imports such as silk, as well as furs, kermes and
fine wools.

23. • Fashion became increasingly flamboyant in the 12 century a time of crusaders, romances and chivalry. Fashion
cultivated in south spread north from Mediterranean shores. Clothing become fitted more seductively,
showing body ’s shape to first time. Figure hugging silk gowns revealed embroidered chemises beneath the laced
sides. Garments were still based on rectangular and triangular fabrics cut, but with lacing to crush straight shapes
against the curved figure. Ordinary women wore fitted tunics , more closely over waist arms and hips.
• FOOTWEARS:- Medieval leather shoe were much greater numbers than fragile textiles. Piercing or incising
with decorative patterns was popular and showed off coloured hose underneath. The long poulaine toe
was stuffed with whalebone, wool, or moss to keep the shape. Noblemen’s shoes were embroidered with silks..

24. Ordinary people wore simple clothes which allowed them to do their work . Their clothes were shorter and plainer and
coarser. Often have produced fabrics . Garments were made such as aprons to carry tools. Church people used best
quality clothes with finished embroidery and wearing to dress cardinals and bishops. Wide brimmed hat, tippet sleeves,
pleated leather purse from belt, use of buttoned tunics, frayed hems.

25. In medieval times the Mediterranean basin was the most advanced centre in the world Of learning, Technology and trade.
Expensive textiles came from china along the ancient Silk Road, the great trade route running through CentralAsia.

26. Clothing become voluminous in the 13 century and men ’s and women ’s garments followed the same changes
in shape. Tunic sleeves had tight lower arms, but more fabrics around the armhole, and the Surcoat (sleeveless
overtunic) became a wardrobe stable. Neckline became lower, trailing hemlines, pouline shoes. Tight sleeves,
hoods, belts, veils , gloves were more worn, houppelande trails on ground. The silhouette was long with high
waist.

27. • Women's gowns became high waisted with a low cut V neck that showed a piece of contrasting fabric
underneath. The V neck would be folded back to reveal an attractive lining. Long fitted sleeves developed cuffsin what
was called Burundian fashion. The houppelande of 1380 was a beautiful, full length robe like garment
featuring a high collar and wide sleeves Later, the full sleeves tightened at the wrist. The houppelande fell in
folds into a bell shape.
• ACCESSORIES:-The wimple, a style brought back from the Middle East during the Crusades caught on. A wimple is
a piece of cloth worn over the head and around the face and neck. A wimple would be worn under a veil called
a couver chef. Men wore many types of hats and head gear. The sugar loaf hat was a tallish conical hat that resembled
an inverted flower pot

28. This was the period when fashion finally moved from draped clothing to fitted garments and the art of tailoring came
into its own. Clothing now consisted of a greater number of parts including detachable sleeves, under and overskirts,
sleeveless jerkins and breeches of different lengths. The masculine form was enhanced by the latest clothing, with its
wide shoulders, codpieces strong legs and bellies.
The fashion split there were marked regional difference in women ’s dress. The medieval standards one piece tunic
moved towards broad spectrum of fashion in cut and construction. Hanging sleeves French gowns sleeves, ruffs were
used on the sleeves and on neck.

29. There were marked regional differences in women ’ dress. The medieval standard one-piece tunic moved towards a
broad spectrum of fashions in cut and construction. Hanging sleeves. French gowns kept the wide, hanging sleeves,
ruffs were used on the sleeves and on necks too.
Headdresses often emphasized a woman ’s high, smooth forehead. Many women bleached their hair to a
fashionable blonde. Cylindrical hats of different lengths were stylish in France, England and low countries.

30. Soft draped lines began to disappear as the century went on the. Women ’s dress has two main parts bodice and skirt and
sleeves were often separate too. Full skirts widened with gathered and pleated waistlines. Outer skirts were opened
up in front to reveal a petticoat or forepart underneath. The Spanish farthingales created a bell shaped and defined the
century’s silhouette. Bodice became smooth and fitted by adding stiff materials inside.

31. • As the century progressed so the gradual stiffening of women ’s dress continued. Linear bands and braids
followed the clothing ’s sharp lines and emphasized its control of body shape. Necklines were either at bust level or
up to the chin. The silhouette stayed triangular with narrow waists ending in sharp points and full skirts. The top
of the sleeves of women’s dresses started to be styled into puffs, tabs, and rolls.
• HAIRSTYLES:- Renaissance love of finery, women ’s hair during the 16 century was parted in the centre, swept
over the temples, curled crimped arranged over pads to keep shape, frizzled, bewigged, piled into high peaks or
hidden.

32. Fashion history ’s most geometric period created unnatural silhouettes made from straight lines, triangles and
circles. Huge ruffs isolated head from head from body, or open collars revealed décolletages cut immodestly low.

33. This was a century of unprecedented and accelerated change The world's population grew dramatically and
infant mortality was reduced by a quarter due to improved healthcare and hygiene. The average adult
lifespan increased by a decade, and a burgeoning middle class acquired property and possessions, patronized
department stores, and indulged in sporting activities. Day trippers to national exhibitions and the seaside saw
fashionable society men and women at leisure and aspired to their lifestyle and fashions
Philanthropic reforms, including educational provision assisted the working classes in seeking to better
themselves by working their way factories, shops, "in service".

34. Fashion of 18 century reflected a time of upheaval. It brought more informal dress influenced by revolutionary fervor
in France. Wrapping gowns inscribed silk and painted chints gave way to printed cottons and plain cotton
chemise dress could be washed..

35. Charles Fredrick Worth, an Englishman from the quiet county of Lincolnshire, was the first couturier of modern
times. Worth also set the tone for the couturier as dictator, rapidly acquiring much of the arrogance of French court
he served, with prices to match. “Those ladies are wisest who leave the choices to us”
Charles Fredrick Worth created the modern couture system that remained dominant until the rise of ready-to-wear
in the 1960s. Among his many innovations were the sale of toiles and patterns and the use of models. More
importantly, he took dressmaking on to a higher place through fit and construction a tradition that was carried on by
worth’s sons after his dress

36. Jeanne Paquin was the queen of haute couture for nearly thirty years. She was the first major female couturier
running one of the biggest couture houses of early twentieth century, employing 2,700 employees at the height. Her
rise to fame was rapid and based on applying her own pared-down personal style to her business. That style was
founded on knits and flannels materials generally considered only appropriate for sports clothing. By 1915, she had
opened her own fashion house. It included her first full collection to immediate and widespread.

37. In France the empire became fashionable from 1790s inspired from the classical Greek and roman statue. Waistline were high
and skirts have short trails.

38. Piping of the dress. Splendor jackets and beautiful hats appear during this time. Wide puffed sleeve emphasize the
narrow waist low deco vet age neckline emphasized the bottle shaped neck. Off shoulder dresses were
appeared. .

39. Eli Whitney invented the cotton ginning machine in 1793 which was patented by 1807. 1804 we had jacquard loom after
the name of Joseph Jacquard. Isaac Singer in 1851 brought the sewing machine and the principle of assembly
line developed which led to the mass production of classes.

40. Crinolines appeared, large frames were abandoned after 1867, skirts trailed and were gathered internally with ties
forming a soft bustles. Then crinolettes and bustles pads took over.

41. Soft bustles and fishtails. Bodice necklines were square with exposed décolleté for evening. Dresses had three
quarter sleeve with lace cuffs and wore sleeveless for evening wear.

42. And extremely tight steel boned corsets came in the year 1883-18887 which look like a chicken tail. 1890-1899 during
this time India was ceded to Britain by the trite of Paris in 1898.

43. Paul Poiret was born on 20 April 1879 to a cloth merchant in the poor neighborhood of Les Hells, Paris. Poiret ’s route into
couture followed the common practice of shopping around one ’s drawings in original fashion designs. In freeing
women from corsets and dissolving the fortified grandeur of the obdurate, hyperbolic silhouette, Poiret effected a
concomitant revolution in dressmaking.

44. This time period focused on simplification of the dress. The idea was “less is more”
After the war the popularity of elaborate hair pieces and dresses were reduced to a replace by energetic boyish look
“The Flapper ” . Always on the move-either dancing or racing around in the automobile the new style which represent
the youth fashion and fun.

45. Gabrielle Bonheur “coco ” Chanel was a French fashion designer and a businesswoman. She was the founder
and namesake of the Chanel brand. Along with Paul Poiret, Chanel was credited inn the post World-War I era with
liberating woman from the constraints of “corseted silhouette” and popularizing a sporty, casual chic as the
feminine standard of style. A prolific fashion creator, Chanel extended her influence beyond couture clothing.

46. Madeleine Vionnet liberated women from the corset inspired by the celebrated dancer laadora Duncan, whom she
never met bur admired afar. Vionnet was an important force in the history of fashion, but there was much else
beside. Her achievements overshadow her personality. Although her skillful and original tailoring. Should not be
overlooked, It was her talent with the draping of cloth for dresses that put her in a league of her own.

47. Madeleine Vionnet liberated women from the corset inspired by the celebrated dancer laadora Duncan, whom she
never met bur admired afar. Vionnet was an important force in the history of fashion, but there was much else
beside. Her achievements overshadow her personality. Although her skillful and original tailoring. Should not be
overlooked, It was her talent with the draping of cloth for dresses that put her in a league of her own.

48. Elsa Schiaparelli was an Italian fashion designer. Along with Coco Chanel her greatest rival, she is regarded as one of the
most prominent figures in fashion between the two World Wars. Starting with knitwear Schiaparelli ’s designs
were heavily influenced by surrealists like her collaborators.

49. This time period 1929-1946 use to have the designer Elsa Schiaparelli entering and during this time very simple dress coats
entered because this was the time of great depression. The main feature that we see here is the dresses became longer at
the hemlines to the floor length.And the roaring twenties came to a hawlt.

50. The new word was came during this time (the teenager they wanted clothes just for themselves his was the Elvis wore
leather flight jacket and military surplus.

51. Designer from Spain. His creations had broad shoulders, and he removed waist..

52. The long title of American courtier Mainbocher spanned a remarkable period in the history of fashion, from the
frothy collection of the belle époque to the ready-to-wear explosion of the 1960s and 1970s. Late in his career, when he
was in his seventies. Mainbocher showed he could still lead the way with a series pared-down dresses, including a
bias-cut white crepe dinner dress. He was proud to be descended from French Huguenot's pioneers who arrived in
America in the 1640s.

53. Circular skirts, Wasp shaped skirt Christian Dior introduced in 1954 Autumn Winter Collection(classic look) the pencil
skirt after seeing the hobble skirt after seeing the hobble skirt of Paul Poiret.

54. Clothing styles have always mirrored the prevailing attitudes of the time and this is certainly true of fashion in the
1960s. The decade was marked by sweeping social; change and the domination of youth culture- baby boomers were
growing up and demanded their own fashion style. Designers responded with much more liberal, daring approach to
fashion, boasting colourful fabrics and bold designs. Clothing broke with social traditions that dictated what could be worn
when and by whom. In the past attire had been divided n to ‘formal ’ and ‘casual ’ wear, and distinct separations were
made between the styles of clothing worn by men and women.

55. Yves Saint Laurent was, in the words of the man closest to him, born with a nervous breakdown. Even so he was
also probably the most influential fashion designer of the second half of the twentieth century, Saint Laurent reinvented
Paris fashion for the young, giving the women of the baby boomer generation a new wardrobe stocked with easy,
youthful clothes which, in their energy, flirtatious assertiveness and borrowings, prefigured the social and political
emancipation women were just learning to crave.

56. Mod, short for ‘modern ; refers to a youth lifestyle that emerged from London during the 1960s, and quickly spread
to America, Europe, Australia. Centered around London ’s thriving pop music, art and fashion scene, the mod
lifestyle focused on innovation and the ‘new ’ Mod fashion was slim fitting and featured bold geometric shapes. Colour
was also a key concern- the conservative greys, browns and pastels of the 1950s were replaced by bright wild hues.

57. In the modern age, fashion designers have become celebrities and catwalk shows are major events Late in the 20th
century creativity reached new heights and designers began to use the runway show as theatre, as in Alexander
McQueen's Springs Summer 1999 Collection, where machines spray painted the models" dresses in front of the
audience. The London Designer collections were established in the 1980s, and fashion journalists and
buyers travelled to New York London. Milan, and Pars every spring and autumn to view the collection for the
following season. The power of the brand from Armani to Burberry became international-designers names sold
products. Calvin Klein's fragrances for example sold an aspirational lifestyle, and his underwear line in the 1990s was
so famous that the garment became known simply by the designers name. For the first time, fashions emerged from
the street not the design studio. Towards the end of the 20th century the dress of sub-cultural groups from Goths to
surfers became increasingly mainstream. The freehand authentic feel to street style seized the
imagination of designers, and the styles themselves became more complex as designers adapted and reworked them

58. In terms of creativity and the ability to place fashion at the heart of a vital popular culture, Vivienne Westwood may
be the greatest designer of the twentieth century. Her method is not so very different from that of many designers,
particularly other British designers trained in an art-school tradition.
Clothing has always reconstructed and modified the structure of the body and it still does today. What seems to surprise
and upset people is reconstructions that don ’t accord with what they consider to be the norm, the present accepted
idea of beauty. If you design a dress with a sellier, the padding that gives it a rounded form has become a subversive act.

59. The long lasting image of Jean Paul Gaultier as a perpetual enfant terrible of French fashion took many years to lay
to rest. But now the great iconoclast of Modern French Fashion has become part of establishment he once shunned.
His clothes made all the headlines but were considered unwearable skirts for men. His experiments with
sportswear, stretch fabrics and underwear used as outerwear were influencing all levels of the fashion market.

60. In the introduction to the first book on the work of Issey Miyake, East Meets West, published in 1978, Diana Vreeland,
then retired from US Vogue and heading the Costume Institute at the Metropolitan Museum of Art in New York, wrote, ‘His
clothes are totally his and his alone. Miyake’s vision is unique. He was the precursor, leader and mentor of a
new school of Japanese design, which took the fashion world by storm in the early 1980s. He was not the first
Japanese designer to find fame in the West, but he was the first to create something new and revolutionary. He drew
deeply on both oriental and occidental traditions of dress to produce the hybrid style that was to change everyone’s
perceptions of what clothing could be.

61. Thank You
Dezyne E’cole College
Tanuja Sahu
2nd Year Diploma Fashion Design (NSQF Level- 6 Of NSDC )