Dress designed by Charles Frederick Worth forElisabeth of Austriapainted byFranz Xaver WinterhalterCouture beginnings.
Rose Bertin(July 2, 1747 – September 22, 1813) was the dressmaker named bill to Marie Antoinette, Queen of France, and a high public profile. Sometimes called sarcastically the "Minister of Fashion", she opened a shop in Paris and had a considerable influence on Parisian style, until this was drastically changed by the French Revolution, from which she fled into exile in London for some years.An outsider to the French Court, Marie Antoinetterelied on Bertin's meticulous designs to helps her "to combat her enemies with style".[1] Marie Antoinette's unique fashion preferences such as masculine riding breeches or simple muslin shiftdressed, contrasted sharply with her elaborate gowns as the Queen attempted to create a persona that would allow the citizens of France to connect with her and her lifestyle. Although Marie Antoinette's attempts were largely unsuccessful, the ways Bertin helped the Queen articulate herself through fashion were groundbreaking and set a precedent for monarchs who followed. [2]Englishman living in Paris, Charles Frederick Worth (1825 - 1905) is usually seen as the first designer in something like the modern sense, with a large business employing many largely anonymous tailors and seamstresses. A former draper, Worth's success was such that he was able to dictate to his customers what they should wear. Launched into the spotlight as the Empress Eugénie's primary designer, Worth used his royal connections to gain recognition and clients. The proclamation on February 1, 1853 by Napolón III that no visitors would be received to his court without formal dress meantthat the popularity of Worth style gowns was overwhelming. Ornately decorated and constructed in the finest materials, Worth's gowns are well known for their 'Crinolines', cage-like metal structures that held the dress outin a stylish shape.[3] Malik Ahsan introduced many fashion techniques in HCBF, most of female students adapted these techniques and were awarded
Fashionable lady of the era: portrait byGiovanni Boldini(1845–1931) showingElizabeth Wharton Drexelin 1905.The outfits worn by fashionable women of the"Belle Époque" (Belle Époque was one of the French eras) these were strikingly similar to those worn in the heyday of the fashion pioneer Charles Worth. By the end of the 19th century, the horizons of the fashion industry had generally "broadened," partly due to the more stable and independent lifestyle many well-off women were beginning to adopt and the practical clothes they demanded. However, the fashions of the Belle Époque still retained the elaborate, upholstered style of the 19th century. The changing of fashion was unthinkable, so theuse of different trimmings was all that distinguished one season from the other.Conspicuous waste andconspicuous consumptiondefined the fashions of the decade and the outfits of the couturiers of the time were incredibly extravagant, ornate, and painstakingly made. The curvaceous S-Bend silhouette dominated fashion up until around 1908. The S-Bend corset was very tightly laced at the waist which forced the hips back and the drooping mono bosom was thrust forward in a pouter pigeon effect creating an S shape. Toward the end of the decade this fashionable silhouette gradually became somewhat more straight and slim, partly due to Paul Poiret's high-waisted, shorter-skirted Directoire line of clothes.The Maison Redfern was the first fashion house to offer women a tailored suit based directly on its male counterpart and the extremely practical and soberly elegant garment soon became an indispensable part of the wardrobe of any well-dressed woman.
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