While the U.S. garment industry faced off against Europe, the role of the American fashion designer changed. While haute couture, the highly regulated Parisian custom-made clothing industry, had long been driven by the creativity and personalities of individual designers, Seventh Avenue was dominated by faceless manufacturing firms who produced multiple ready-to-wear lines. Most prided themselves on the impressive volume of their output, rather than its quality or originality. Indeed, even high-end manufacturers peddled authorized knockoffs of Parisian couture. But in the late 1960s, more and more designers made the transition from hired hand to figurehead, from the workroom to the front office. Their names began to appear on labels and their faces in advertisements—and their designs were original. Finally, designers emerged from the shadows into the harsh glare of celebrity. In 1969, the New York Times would hail the shift as “a turning point in American design” that had “not only led to structural changes in the dress business but also produced a new attitude toward fashion.”
Though textile colors and patterns changed from year to year, the cut of a gentleman’s coat and the length of his waistcoat, or the pattern to which a lady’s dress was cut, changed more slowly. Men’s fashions were largely derived from military models, and changes in a European male silhouette were galvanized in theaters of European war where gentleman officers had opportunities to make notes of foreign styles such as the “Steinkirk” cravat or necktie.
The U.S. didn’t just aim for greater manufacturing shares. When World War II crippled the French fashion industry, Seventh Avenue also fought for a share of its popularity and prestige. The New York Dress Institute was launched in 1941; at the City Hall ceremony, a “New York Creation” clothing label that was to be sewn into every dress made in the city made its debut. As recounted in Booth Moore’s new book American Runway, “First Lady Eleanor Roosevelt passed out 14-karat-gold needles used by union workers to ceremoniously sew the first labels, setting a precedent for cooperation between the White House and the fashion industry that would continue for years to come.”
She laughed recalling how as teenagers in the ’80s, she and her sister used to dress up in their U.A.L. finds and go to the International House of Pancakes and pretend to be French-speaking models from out of town.
The solution: turn them 90 degrees. The vertical stripe is officially new go-to pattern. Seen on everything from bombers to field jackets at the global fashion weeks, there’s no denying that it was one seriously stripey season. In real life, you’re aiming for Armie Hammer’s effortless Call My By Your Name wardrobe – but take it too far and you’re one half of Bananas In Pyjamas.
Globally renowned fashion designers from Germany are Karl Lagerfeld, Hugo Boss, Wolfgang Joop, Jil Sander, Michael Michalsky, Etienne Aigner, Rudolph Moshammer, Torsten Amft, Willy Bogner, and Philipp Plein.
She is 64, with short hair the color of a gingersnap and funky round-frame glasses that match her effervescent personality. He is 76 and describes himself as “a picaresque guy” from New Orleans, with artistic tendencies that he channeled into a career as a merchant.
Description For young girls, frilly dresses with ruffles, checks, plaids, and stripes. For older girls, a more toned down and simple line for dresses with menswear details, bow collars, pleats, belted dresses and pocket details.
If you are looking to add something to your wardrobe that you can reach in for, any time of the year, the trucker jacket is a must-have this year. The denim jackets are great when there is an onset of a slight nip in the air, and are just as great when worn under a layer, creating a fashion statement. Opt for any: just team it with slim jeans or khakis, wear it unbuttoned on a loose tee, or like a shirt. The choice is yours. This jacket is super-versatile, and an absolute essential to complete the wardrobe.
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With North, Harper, Suri, Blue Ivy and Prince George foisted on us from every angle, it would be easy to imagine that an appetite for immaculately turned-out children didn’t exist before Google. Taking pride in your progeny’s appearance is as old as parenthood itself, though it was only after the Second World War that British parents began to aspire to anything more than “cleanliness” for their offspring, since the childrenswear market didn’t exist on a mass scale before then. In the 60s and 70s, brands such as Adams and Ladybird (both launched in the 30s) were as aspirational as Mini Boden is now, even if looking respectable was more of a concern for parents.
Despite competition from his contemporaries, it was a barely-talking Prince George who was crowned “the world’s most influential toddler” by Forbes magazine in 2014, has a clutch of blogs dedicated to his dressing, and according to a study conducted by Brand Finance, is worth roughly £2.3 billion to the British economy. What is it about the Prince George’s style that has captured the imagination of parents around the world? His affinity for Peter Pan collars and Start-rite shoes, supplemented by the occasional knee-high sock for a touch of impish, Just William-style charm, don’t instinctively chime with the Instagram generation; his stripy cotton T-shirts could be considered no match for Blue Ivy’s trails of tulle.
For the uninitiated, the experience was like waking up in a surrealist painting or discovering you’d ingested a lot of peyote. For Russell Westbrook, All-Star point guard for the Oklahoma City Thunder, it was just another fashion show, albeit the most hotly anticipated of this fall’s New York Fashion Week: Givenchy was unveiling its 2016 spring line. Westbrook, 26, wearing a look of rapt interest, had planted himself at the runway’s edge alongside Kim Kardashian, Kanye West, and Vogue’s Anna Wintour. Afterward, he hustled backstage to pay his respects to the French label’s creative director, Riccardo Tisci. “Every time I walk into a fashion show, I get excited,” he says.