1901-1928
LA BELLE EPOQUE AND THE JAZZ AGE
Simplification and in particular the idea that “l(fā)ess is more” governed the development of fashion in the early 20th century.
The old way of dressing was only abandoned after a final extravagant flourish, which found shape in Paul Poiret’s colorful Orientalist designs and Lucile’s gossamer creations.
The beginning of World War I accelerated the trend toward less restrictive clothing, as many women became used to wearing practical uniforms.
After the War the popularity of elaborate hairpieces and many layers of flimsy fabric diminished in favor of practical, shorter skirts and sweaters.
The figure of the static, hourglass woman was being replaced by the energetic, boyish “flapper.”
Always on the move — either dancing the night away or racing around in an automobile — the new style represented youth, fashion, and fun.
THE SUNTAN ERA
Men and women increasingly revealed their bodies, as clothes shrank and became less structured.
The fashionable set went to Palm Beach and Malibu in the US, or the Riviera in France, to acquire a suntan and to flaunt their beach pajamas and summer suits.
Different outerwear also meant changes to previously restrictive undergarments — fewer pieces of less-rigid underwear became possible.
New designers were particularly adept at picking up the trend toward increased movement and practicality in fashion.
French designers Chanel and Patou both started their Houses just before World War I, and promoted clothes for the active woman, in which knitwear featured prominently.
NEW ICONS
Royalty and aristocracy still played a significant role in setting trends.
In Britain, Prince Edward initiated and popularized new styles.
Following his investiture as Prince of Wales in 1910, the 16-year-old heir to the throne soon became a major fashion icon, accelerating the move toward less structured garments.
He also popularized the use of garments such as Fair Isle knitted vests and plus fours off the golf course.
With the rise of Hollywood during the second decade of the century, movie stars such as Douglas Fairbanks, Rudolph Valentino, and Louise Brooks began to supplant high-society figures in setting trends.
1901-1928
美好時(shí)代與爵士時(shí)代
二十世紀(jì)初崇尚的簡單化與“少即是多”的理念在時(shí)尚圈得到發(fā)展习劫。
舊式穿衣方式在經(jīng)歷最后奢靡的繁榮之后允青，才被拋棄谒拴。這些我們可以從保羅 博雷特的多彩東方主義設(shè)計(jì)與露西弗的薄網(wǎng)紗設(shè)計(jì)中一見端倪霉猛。
第一次世界大戰(zhàn)的開始加速了服飾潮流往更多限制的趨勢(shì)走去出嘹，女性開始越來越習(xí)慣穿著實(shí)用制服舰蟆。戰(zhàn)爭之后段只，精致的發(fā)型與多層次薄紗裙減少了腮猖，取而代之是更短的裙子與毛衣。
僵硬的沙漏女性身形被充滿活力赞枕，男孩式的“新潮女郎”所取代澈缺。
永恒的移動(dòng)，不論是在夜里跳舞還是在車?yán)镔愜嚳簧簦嘛L(fēng)格代表著青春姐赡，時(shí)髦與樂趣。
曬黑新時(shí)代
男性與女性越來越多地袒露他們的身體古话，例如布料越用越少雏吭，結(jié)構(gòu)也越來越簡單。
時(shí)髦人士來到了美國的棕櫚灘和馬利布陪踩，還有法國的里維埃拉杖们，為了曬黑他們的皮膚，并且能穿上沙灘睡衣與夏季套裝肩狂。
不同的外衣出現(xiàn)也意味著之前受限制的內(nèi)衣也在發(fā)生變化摘完，更少的剛性固定內(nèi)衣成為可能。
新新設(shè)計(jì)師特別擅長提升時(shí)尚中的運(yùn)動(dòng)與實(shí)用性傻谁。
法國設(shè)計(jì)師香奈兒與巴度同時(shí)在第一次世界大戰(zhàn)前開始了他們的工作室孝治，并為活躍的女性顧客提供服飾，其中針織品尤為突出审磁。
新偶像
貴族與統(tǒng)治階層仍然在制定趨勢(shì)方面扮演了重要角色谈飒。
在英國，愛德華王子發(fā)起與普及了新的風(fēng)格态蒂。
在1910年威爾士親王授權(quán)儀式之后杭措，這位16歲的王位繼承人迅速成為主要的時(shí)尚偶像，并且加快了對(duì)較少結(jié)構(gòu)性服飾的發(fā)展钾恢。
他還普及了例如費(fèi)爾島雜色圖案針織背心手素，以及高爾夫球褲等。
隨著好萊塢在本世紀(jì)二十年代興起瘩蚪，一些電影明星諸如道格拉斯 費(fèi)爾班克斯泉懦，魯?shù)婪?瓦倫蒂諾，還有路易斯 布魯克斯等開始取代高階層人士領(lǐng)導(dǎo)時(shí)尚潮流疹瘦。
