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French fashion
17th century, the Barroque and Classicim
France is a leading country in the fashion design industry, along with Italy, Germany, the United Kingdom, Japan and the USA. Fashion is an important part of the country's cultural life and society, and the French are well known for good taste. Haute couture and the prêt-à-porter, among other fashion styles, remain part of French traditional life. France has many famous designers.
French design became prominent during the 15th century through today. The fashion industry has been an important cultural export of France since the 17th century and the modern haute couture where originated in the 1860s.
Paris acts as the center of the country's fashion industry. Along with New York City, London and Milan, it is considered a leading fashion capital. Paris is home to many premier fashion designers including Chanel, Pierre Cardin, Céline, Chloe, Dior, Givenchy, Jean Paul Gaultier, Hermès, Lanvin, Rochas, Vuitton, and Yves Saint Laurent.
Many French cities, including Lyon, Marseille, Toulouse, Lille, Strasbourg, Bordeaux, Nantes or Rennes, host important luxury districts and avenues. In recent centuries, these cities have transformed into developed cities and heavy producers and costumers of luxury goods. Île-de-France, Manosque, La Gacilly (near Rennes), and Vichy lead the cosmetic industry, basing well-known international beauty houses as L'Oreal, Lancôme, Guerlain, Clarins, Yves Rocher, L'Occitane, Vichy, etc.
The cities of Nice, Cannes, St. Tropez, among others of the French riviera, are well known as places of luxury, annually hosting many international media celebrities and personalities, potentates, and billionaires.
17th century, the Barroque and Classicim
The association of France with fashion and style (la mode) is widely credited as beginning during the reign of Louis XIV [3] when the luxury goods industries in France came increasingly under royal control and the French royal court became, arguably, the arbiter of taste and style in Europe. The rise in prominence of French fashion was linked to the creation of the fashion press in the early 1670s (due in large part to Jean Donneau de Visé), which transformed the fashion industry by marketing designs to a broad public outside the French court and by popularizing notions such as the fashion "season" and changing styles.
Over his lifetime, Louis commissioned numerous works of art to portray himself, among them over 300 formal portraits. The earliest portrayals of Louis already followed the pictorial conventions of the day in depicting the child king as the majestically royal incarnation of France. This idealisation of the monarch continued in later works, which avoided depictions of the effect of the smallpox that Louis contracted in 1647. In the 1660s, Louis began to be shown as a Roman emperor, the god Apollo, or Alexander the Great, as can be seen in many works of Charles Le Brun, such as sculpture, paintings, and the decor of major monuments.
The depiction of the King in this manner focused on allegorical or mythological attributes, instead of attempting to produce a true likeness. As Louis aged, so too did the manner in which he was depicted. Nonetheless, there was still a disparity between realistic representation and the demands of royal propaganda. There is no better
illustration of this than in HyacintheRigaud's frequently-reproduced Portrait of Louis XIV of 1701, in which a 63-year-old Louis appears to stand on a set of unnaturally young legs.
Rigaud's portrait exemplified the height of royal portraiture in Louis's reign. Although Rigaud crafted a credible likeness of Louis, the portrait was neither meant as an exercise in realism nor to explore Louis's personal character. Certainly, Rigaud was concerned with detail and depicted the King's costume with great precision, down to his shoe buckle.[7] However, Rigaud's intention was to glorify the monarchy. Rigaud's original, now housed in the Louvre, was originally meant as a gift to Louis's grandson, Philip V of Spain. However, Louis was so pleased with the work that he kept the original and commissioned a copy to be sent to his grandson. That became the first of many copies, both in full and half-length formats, to be made by Rigaud, often with the help of his assistants. The portrait also became a model for French royal and imperial portraiture down to the time of Charles X over a century later. In his work, Rigaud proclaims Louis's exalted royal status through his elegant stance and haughty expression, the royal regalia and throne, rich ceremonial fleur-de-lys robes, as well as the upright column in the background, which, together with the draperies, serves to frame this image of majesty.
Louis XIV notably introduced one of the most noticeable feature of the men's costume of the time: immense wigs of curled hair. A commonly held belief is that Louis XIV started to wear wigs due to balding, and to imitate this his courtiers put on false hair. The wearing of wigs lasted for over a century; they went through many changes, but they were never quite so exaggerated as during this period.
18th century, the Rococó and rising new classicism
The extravagant styles of the French Royal court racked up enormous debts to keep up its pace, at the peasants' expense. Such fashion sprees notably ruined Marie Antoinette’s reputation, and were one of the many factors paving the way for the French Revolution.
Long after her death, Marie Antoinette remains a major historical figure linked with conservative and the Catholic Church positions; and a major cultural icon associated with high glamour, wealth and a certain style of life based on luxury and celebrity appealing today to the social and cultural elites; frequently referenced in popular culture,[9] being the subject of several books, films and other forms of media. Most academics and scholars, have deemed her the quintessential representative of class conflict, western aristocracy and absolutism government in addition to being frivolous, superficial; and have attributed the start of the French Revolution.
The phrase "Let them eat cake" is often attributed to Marie Antoinette, but there is no evidence she ever uttered it, and it is now generally regarded as a "journalistic cliché".[10] It may have been a rumor started by angry French peasants as a form of libel. This phrase originally appeared in Book VI of the first part (finished in 1767, published in 1782) of Rousseau's putative autobiographical work, Les Confessions: "Enfin je me rappelai le
pis-allerd'unegrandeprincesse à qui l'ondisaitque les paysansn'avaient pas de pain, et qui répondit: Qu'ilsmangent de la brioche" ("Finally I recalled the stopgap solution of a great princess who was told that the peasants had no bread, and who responded: 'Let them eat brioche'"). Apart from the fact that Rousseau ascribes these words to an unknown princess, vaguely referred to as a "great princess", some think that he invented it altogether as Confessions was largely inaccurate.
The Sans-culottes (lit. “without knee-breeches”) rejected the powdered wigs and the knee-breeches assimilated to the nobility, and instead favored informal styles (full-length trousers, and natural hair), which finally triumphed over the brocades, lace, periwig, and powder of the earlier eighteenth century.
19th century, full Neoclassicism and Empire style
After the fall of the Jacobins and their Sans-culottes supporters, the supporters of the Thermidorian Reaction were known as the Incroyables and Merveilleuses. They scandalized Paris with their extravagant clothes. The Merveilleuses wore dresses and tunics modeled after the ancient Greeks and Romans, cut of light or even transparent linen and gauze. Sometimes so revealing they were termed "woven air", many gowns displayed cleavage and were too tight to allow pockets. To carry even a handkerchief, the ladies had to use small bags known as reticules. They were fond of wigs, often choosing blonde because the Paris Commune had banned blonde wigs, but they also wore them in black, blue, and green. Enormous hats, short curls like those on Roman busts, and Greek-style sandals were the rage. The sandals were tied above the ankle with crossed ribbons or strings of pearls. Exotic and expensive scents fabricated by perfume houses like ParfumsLubin were worn as both for style and as indicators of social station.
ThérésaTallien, known as "Our Lady of Thermidor", wore expensive rings on the toes of her bare feet and gold circlets on her legs.
The Incroyables wore eccentric outfits: large earrings, green jackets, wide trousers, huge neckties, thick glasses, and hats topped by "dog ears", their hair falling on their ears. Their musk-based fragrances earned them too the derogatory nickname muscadins among the lower classes, already applied to a wide group of anti-Jacobins. They wore bicorne hats and carried bludgeons, which they referred to as their "executive power." Hair was often shoulder-length, sometimes pulled up in the back with a comb to imitate the hairstyles of the condemned. Some sported large monocles, and they frequently affected a lisp and sometimes a stooped hunchbacked posture.
In addition to Madame Tallien, famous Merveilleuses included Anne Françoise Elizabeth Lange, Jeanne Françoise Julie AdélaïdeRécamier, and two very popular
Créoles: Fortunée Hamelin and Hortense de Beauharnais. Hortense, a daughter of the Empress Josephine, married Louis Bonaparte and became the mother of Napoleon III. Fortunée was not born rich, but she became famous for her salons and her string of prominent lovers. Parisian society compared Germaine de Staël and MmeRaguet to Minerva and Juno and named their garments for Roman deities: gowns were styled Flora or Diana, and tunics were styled à la Ceres or Minerva.
The leading Incroyable, Paul François Jean Nicolas, vicomte de Barras, was one of five Directors who ran the Republic of France and gave the period its name. He hosted luxurious feasts attended by royalists, repentant Jacobins, ladies, and courtesans. Since divorce was now legal, sexuality was looser than in the past. However, de Barras' reputation for immorality may have been a factor in his later overthrow, a coup that brought the French Consulate to power and paved the way for Napoleon Bonaparte.
Final 19th - early 20th century and the Belle Époque
France renewed its dominance of the high fashion (French: couture or haute couture) industry in the years 1860-1960 through the establishing of the great couturier houses, the fashion press (Vogue was founded in 1892 in USA, and 1920 in France) and fashion shows. The first modern Parisian couturier house is generally considered the work of the Englishman Charles Frederick Worth, who dominated the industry from 1858-1895.[14] In the late nineteenth and early twentieth century, the industry expanded through such Parisian fashion houses as the house of Jacques Doucet (founded in 1871), Rouff (founded 1884), Jeanne Paquin (founded in 1891), the CallotSoeurs (founded 1895 and operated by four sisters), Paul Poiret (founded in 1903), Louise Chéruit (founded 1906), Madeleine Vionnet (founded in 1912), Elsa Schiaparelli (founded in 1927) or Balenciaga (founded by the Spaniard Cristóbal Balenciaga in 1937).
Chanel founded by Coco Chanel, it first came to prominence in 1925, it's philosophy was to emphasize understated elegance through her clothing. Her popularity thrived in the 1920s, because of innovative designs. Chanel's own look itself was as different and new as her creations. Instead of the usual pale-skinned, long-haired and full-bodied women preferred at the time, Chanel had a boyish figure, short cropped hair, and tanned skin. She had a distinct type of beauty that the world came to embrace.
The horse culture and penchant for hunting so passionately pursued by the elites, especially the British, fired Chanel's imagination. Her own enthusiastic indulgence in the sporting life led to clothing designs informed by those activities. From her excursions on water with the yachting world, she appropriated the clothing associated with nautical pursuits: the horizontal striped shirt, bell-bottom pants, crewneck sweaters, and espadrille shoes—all traditionally worn by sailors and fishermen.
World War II
Many fashion houses closed during the occupation of Paris in World War II, including the MaisonVionnet and the Maison Chanel. In contrast to the stylish, liberated Parisienne, the Vichy regime promoted the model of the wife and mother, the robust, athletic young woman, a figure who was much more in line with the new political criteria. Germany, meanwhile, was taking possession of over half of what France produced, including high fashion, and was considering relocating French haute couture to the cities of Berlin and Vienna, neither of which had any significant tradition of fashion. The archives of the ChambreSyndicale de la Couture were seized, mostly for their client lists as Jews were excluded from the fashion industry at this time.
During this era, the number of employed models was limited to seventy-five and designers often substituted materials in order to comply with wartime shortages. From 1940 onward, no more than thirteen feet (four meters) of cloth was permitted to be used for a coat and a little over three feet (one meter) for a blouse. No belt could be over one and a half inches (four centimeters) wide. As a result of the frugal wartime standards, the practical zazou suit became popular among young French men.
In spite of the fact that so many fashion houses closed down or moved away during the war, several new houses remained open, including Jacques Fath, MaggyRouff, Marcel Rochas, Jeanne Lafaurie, Nina Ricci, and Madeleine Vramant. During the Occupation, the only true way for a woman to flaunt her extravagance and add color to a drab outfit was to wear a hat. In this period, hats were often made of scraps of material that would have otherwise been thrown away, sometimes incorporating butter muslin, bits of paper, and wood shavings. Among the most innovative milliners of the time were Pauline Adam, Simone Naudet, Rose Valois, and Le Monnier.
Post-war fashion returned to prominence through Christian Dior's famous "New Look" in 1947: the collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices, in a manner very similar to the style of the Belle
Époque. The extravagant use of fabric and the feminine elegance of the designs appealed greatly to a post-war clientele. Other important houses of the period included Pierre Balmain and Hubert de Givenchy (opened in 1952). The fashion magazine Elle was founded in 1945. In 1952, Coco Chanel herself returned to Paris.
Fashion In France - Today
Post-war fashion returned to prominence through Christian Dior's famous "New Look" in 1947: the collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices, in a manner very similar to the style of the Belle
Époque. The extravagant use of fabric and the feminine elegance of the designs appealed greatly to a post-war clientele. Other important houses of the period included Pierre Balmain and Hubert de Givenchy (opened in 1952). The fashion magazine Elle was founded in 1945. In 1952, Coco Chanel herself returned to Paris.
In the 1960s, "high fashion" came under criticism from France's youth culture (including the yé-yés) who were turning increasingly to London and to casual styles.[18] In 1966, the designer Yves Saint Laurent broke with established high fashion norms by launching a prêt-à-porter ("ready to wear") line and expanding French fashion into mass manufacturing and marketing (member houses of the ChambreSyndicale were forbidden to use even sewing machines). In 1985, Caroline Rennolds Milbank wrote, "The most consistently celebrated and influential designer of the past twenty-five years, Yves Saint Laurent can be credited with both spurring the couture's rise from its sixties ashes and with finally rendering ready-to-wear reputable."[20] He is also credited with having introduced the tuxedo suit for women and was known for his use of non-European cultural references, and non-white models.
Further innovations were carried out by PacoRabanne and Pierre Cardin. In
post-1968 France, youth culture would continue to gravitate away from the "sociopolitically suspect" luxury clothing industry, preferring instead a more "hippy" look (termed baba cool in French). With a greater focus on marketing and manufacturing, new trends were established by Sonia Rykiel, Thierry Mugler, Claude Montana, Jean-Paul Gaultier and Christian Lacroix in the 1970s and 80s. The 1990s saw a conglomeration of many French couture houses under luxury giants and multinationals such as LVMH.
Since the 1960s, France's fashion industry has come under increasing competition from London, New York, Milan and Tokyo. Nevertheless, many foreign designers still seek to make their careers in France: Karl Lagerfeld (German) at Chanel, John Galliano (British) at Dior, Paulo MelimAndersson (Swedish) at Chloe, Stefano Pilati (Italian) at Yves Saint Laurent, Marc Jacobs (American) at Louis Vuitton, and Kenzo Takada (Japanese) and Alexander McQueen (English) at Givenchy (until 2001)
.
France is known as a country of luxury, fashion and beauty, with Paris as one of the world's fashion capitals. It also has many cities and towns with an important history and industry of the entry, with various sized events and shows as fashion weeks and fests.
Paris
Paris is regarded as the world fashion capital, and spread throughout the city are many fashion boutiques. Most of the major French fashion brands, such as Chanel, Louis Vuitton, Dior, and Lacroix, are currently headquartered here. Numerous international fashion labels also operate shops in Paris, such as Valentino, Gucci, Loewe, Escada, BottegaVeneta, and Burberry, as well as an Abercrombie & Fitch flagship store which has become a main consumer attraction. Paris hosts a fashion week twice a year, similar to other international centers such as Milan, London, Tokyo, New York, Los Angeles and Rome.
The Avenue des Champs-Élysées is the avenue of luxury and beauty of France and is the location of many headquarters of upscale fashion, jewelry and beauty houses. It is often compared with the 5th Avenue of NYC and the Avenue Montaigne, an adjacent avenue that is also known for its prestigious fashion headquarters since the 1980s. The fashion houses have been traditionally situated since the 17th century in the quarter around the Rue du Faubourg Saint-Honoré. Other areas, such as Le Marais, a traditional Jewish quarter, have also included the clothing industry. The city's numerous fashion districts consolidate it as a fashion capital.
Lyon
Lyon, the second largest city of France, is a growing fashion industry center. It has been the world's silk capital since the 17th century, with an important textile industry and a strong fashion culture. It is the second biggest luxury goods consumer of the country, with major streets and districts holding houses of high fashion.
The Presqu'île is the upscale district of the city, containing luxurious malls, streets and avenue. The famous Rue de la République is compared with Avenue des
Champs-Elysées of Paris.
The Rue Édouard-Herriot, the Avenue des Cordeliers Jacobines, the Place Bellecour among others, with elegant boutiques of Armani, Dior, Prada, Dolce &Gabbana, Calvin Klein, MaxMara, Armand Ventilo, Sonia Rykiel, and Cartier.
La Croix-Rousse is a fashion district heavily marked by the silk industry, and known for receiving government support for the newcomer fashion designers. The city is the home of the headquarters of international fashion houses such as Korloff, Millesia and the jeweler Augis. Other famous Lyonnaise fashion houses in France include Nicholas Fafiotte, Nathalie Chaize and GarbisDevar.
Marseille
Marseille, the third largest city of France, and the principal port of the country and of the Mediterranean, and second of all Europe.
The city is affectionately called "The Old Lady of the Mediterranean" or "The City of Contrasts".[25] The city has enjoyed its position on the continent being a fluvial port with ships full of fashion products. The avenue Canebière is called the "Champs Elysées of Marseille". Rue Paradis and the Rue Grignan are known for being the avenues of luxury in the city, holding high fashion boutiques such as Louis Vuitton, Hermès, YSL, Chopard, Kenzo, Tara Jarmon, Gérard Darel and many others. The Rue de la Tour is called La Rue de la Mode ("The Fashion Street"), where the newest Marsellaises fashion designers and artisans are supported by the city government, for creating and growing the fashion industry in the city. Some of the famous fashion houses here are Diable Noir and Casa Blanca.
In the Centre and Vieux Port (downtown and old port) are other of the city shopping districts, in these areas are a lot of fashion houses for both nationals and internationals.
Other cities
Although biggest cities, there are a lot "fashionable" cities and towns in France, there are fashion districts, avenues, streets, shopping malls and many places specialized for all the needs of customer.
Cannes, Nice, St. Tropez and Monte Carlo, year by year host thousands of socialites, artists, potentates and personalities who come up for events including the Cannes Film Festival and the NRJ Music Awards. For that reason, the fashion houses have taken advantage of establishing boutiques in ostentatious districts of the French riviera, Bordeaux is classified "City of Art and History". The city is home to 362 monuments historiques (only Paris has more in France) with some buildings dating back to Roman times. Bordeaux has been inscribed on UNESCO World Heritage List as "an outstanding urban and architectural ensemble" and is the world's top prime wine tourism place, focus it's luxury district around the Cours de l'intendance. Toulouse with pink and stylish architecture, Rennes with antique and medieval beauty (around the "rue de la Monnaie"), Nantes with its passage Pommeraye, Strasbourg offering French-German architecture and Lille's downtown in north France holds several luxury houses.
Fashion shows
Main article: Paris Fashion Week
The Paris Fashion Week takes place twice a year after the Milan Fashion Week. It is the last and usually the most anticipated city of the fashion month. Dates are determined by the French Fashion Federation. Currently, the Fashion Week is held in the Carrousel du Louvre.
∙Africa Fashion Week Paris
∙Bordeaux Fashion Week
∙Elite Model Look
∙Cannes-Nice Fashion Week
∙Le Bal des Débutantes
∙Lille Fashion Week
∙Lyon Fashion Week (FashionCity Show)
∙Marseille Fashion Week
∙Nantes Fashion Week
∙Rennes Fashion Week
∙Toulouse Fashion Week
∙Strasbourg Fashion Week (EM Fashion Week)
∙St. Tropez Fashion Week
∙Spring 2004 Dior couture collection
Monaco
Montecarlo Fashion Week (Fashion Fair Week)
翻译
法国时尚
历史
17世纪，巴洛克和古典主义
法国是在时装设计行业领先的国家，随着意大利，德国，英国，日本和美国。

时尚是这个国家的文化生活和社会的重要组成部分，而法国是众所周知的先锋。

在其他时尚风格高级时装和高级成衣，仍然是法国的传统生活的一部分。

法国有许多著名的设计师。

法国设计风格到15世纪变得突出。

时装业一直是法国自17世纪一个重要的文化出口，其中，起源于19世纪60年代现代高级时装。

巴黎作为国内时尚产业的中心。

随着纽约，伦敦，米兰，它被认为是一个领先的时尚之都。

巴黎是许多首屈一指的时装设计师，包括香奈儿，皮尔·卡丹，CELINE，克洛伊，迪奥，纪梵希，让·保罗·高提耶，爱马仕，Lanvin，Rochas，路易威登和圣罗兰。

许多法国城市，包括里昂，马赛，图卢兹，里尔，斯特拉斯堡，波尔多，南特和雷恩，主机重要豪宅区和途径。

在近几个世纪以来，这些城市已经转变为发达的城市，它们的客户重生产商和奢侈品。

法兰西岛，马诺斯克，拉加西利（近雷恩），和薇姿引领化妆品行业，立足国际知名的美容屋欧莱雅，兰蔻，娇兰，娇韵诗，伊夫黎雪，欧舒丹，薇姿等。

尼斯，戛纳，圣特罗佩，对在其他的蔚蓝海岸的城市，是众所周知的豪华场所，每年名流人物，统治者，和亿万富翁在这举办众多国际媒体。

历史
17世纪，巴洛克和古典主义
法国的时尚风格（LA模式）是广受赞誉的。

开始路易十四统治时期，法国奢侈品行业越来越多被皇家和法国皇家法院控制，可以说，仲裁者品位和风格都在欧洲。

法国时尚突出的上升是有联系的，在早期17世纪70年代创立了时尚媒体，这改变了时装业的营销设计，用广大公众以外的法国宫廷的推广概念，如时尚“季节”和多变的模式。

在他的一生中，路易斯委托众多艺术作品描绘自己，其中超过300个正式的肖像画。

路易最早的描绘图案为法国皇室庄严肖像。

君主的这种理想化继续在以后的作品中，路易斯开始被显示为一个罗马皇帝的神阿波罗，或者亚历山大大帝，可以看出在查尔斯勒布伦的许多作品，如雕塑，绘画和主要古迹的装饰都有他的存在。

景以这种方式的描绘聚焦，而不是试图产生一种真实的相似性上寓意或神话属性。

路易没中意他被描绘的方式。

尽管如此，仍然有真实的表现和皇家宣传的需求之间的差距。

有没有更好的说明这比亚森特里戈的频繁再现画像的1701路易十四，其中一个63岁的路易斯似乎站在了一套不自然的年轻的双腿。

里戈为例王室肖像画的路易。

虽然里戈制作路易可信的肖像，画像既不是指作为一个练习的现实主义，也没有探讨路易斯的个人性格。

当然，里戈是关注细节，描绘的是国王的服装，下到他的鞋扣。

然而，里戈的意图是画出荣耀的君主。

里戈的原创，现在被安置在卢浮宫，原本是为了当作礼物送给路易的孙子西班牙腓力五世。

然而，路易斯非常满意里戈的工作，他仍保存着原始副本，发送给他的孙子，这是第一个备份。

由里
戈作品，大多数是有她的助手班助。

画像一直保存到查理十一个多世纪后。

在他的作品，里戈画出路易斯的崇高皇族身份，通过他优雅的姿态和高傲的表情，王室王权和宝座，丰富的礼仪百合花德- 赖氨酸长袍，以及立柱的背景下。

路易十四特别推出了男士的服装时最引人注目特点是卷曲的头发巨大的假发。

一个普遍持有的看法是，路易十四开始戴假发是由于秃顶。

假发的佩戴持续了一个多世纪;他们经历了许多的变化，但在此期间他们从来没有这么夸张过，。

18世纪，洛可可和不断上升的新古典主义
奢洛可可（rococo）起源于18世纪的法国。

洛可可为法语rococo 的音译，此词源于法语ro- caille(贝壳工艺），意思是此风格以岩石和蚌壳装饰为其特色。

是巴洛克风格与中国装饰趣味结合起来的、运用多个S线组合的一种华丽雕琢、纤巧繁琐的艺术样式。

尽管巴洛克艺术有呆板的礼仪，有形式上的骄矜和夸张，但它毕竟是一个阳刚的时期。

而紧随其后的时期，即洛可可艺术，是大约自路易十四1715年逝世时开始的，则显得更为讲究，更为矫饰，更为呆板，因而也更为柔弱。

其实，简单的说，洛可可艺术风格是：繁复华丽的巴洛克风格与18世纪通过丝绸以及瓷器流传到欧洲的中国装饰风格的一种结合体。

洛可可的特征是：一曲线趣味，常用C形、S形、漩涡形等曲线为造形的装饰效果。

二构图非对称法则，而是带有轻快、优雅的运动感。

三色泽柔和﹑艳丽、轻快，给人轻松舒适感。

四崇尚经过人工修饰的“自然”。

五人物意匠上的谐谑性﹑飘逸性，表现各种不同的爱，如浪漫的爱、性爱、母爱等。

新古典主义
新古典主义，兴起于18世纪的罗马，并迅速在欧美地区扩展的艺术运动。

新古典主义，一方面起于对巴洛克（Baroque）和洛可可（Rococo）艺术的反动，另一方面则是希望以重振古希腊、古罗马的艺术为信念。

新古典主义的艺术家刻意从风格与题材模仿古代艺术，并且知晓所模仿的内容为何。

新古典主义的特征：选择严峻的重大题材(古代历史和现实的重大事件), 在艺术形式上,强调理性而非感性的表现；在构图上强调完整性；在造型上重视素描和轮廓,注重雕塑般的人物形象,而对色彩不够重视。

新古典主义在美学思潮上，不但否定浪漫主义音乐的标题性和主观性，也否定后期浪漫主义及其引伸出来的表现主义那种夸大的幻想和表现。

19世纪，充满新古典主义和帝国风格
雅各宾派和他们的无套裤汉的支持者沦陷后，Thermidorian反应的支持者被称为Incroyables和Merveilleuses。

他们震惊巴黎与他们奢侈的衣服。

该Merveilleuses穿裙子和长袍古希腊人和罗马人模仿，切光，甚至透明的亚麻布和纱布。

有时候，因此揭示他们称为“编织空中”，很多礼服展示裂解和太紧，让口袋里。

要随身携带，甚至手帕，女士们不得不使用被称为手提袋的小袋子。

他们喜欢假发，常选择的金发因为巴黎公社已经禁止金发假发，但他们只能穿着黑色，蓝色和绿色。

巨大的帽子，短卷发像在胸像，和希腊风格的凉鞋是风靡一时。

该凉鞋被捆绑与交叉带或珍珠串脚踝上方。

通过香水的房子像香水鲁宾制作充满异国情调和昂贵的气味被佩带既风格和作为社会加油站的指标。

特里萨Tallien，被称为“我们的热月的夫人”，穿在她光着脚和金circlets对她的腿的脚趾昂贵的戒指。

Incroyables穿着古怪的衣服：大耳环，绿色的外套，宽大的裤子，巨大的领带，厚厚的眼镜，和帽子的“狗耳朵”突破，他们的头发落在自己的耳朵。

他们麝香型香水赢得了他们太多的下层阶级之间的贬义的绰号muscadins，已经应用到广泛的反雅各宾组。

他们穿着bicorne帽子和携带bludgeons，他们被称为他们的“执行力”。

头发往往及肩，
有时停在用梳子的背面模仿的谴责的发型。

有的留着大monocles，他们经常遭受口齿不清，有时一个弯腰驼背的姿势。

除了夫人Tallien，著名Merveilleuses包括安妮·弗朗索瓦·伊丽莎白·朗格，珍妮·弗朗索瓦·朱莉阿德莱德Récamier，两个很受欢迎的克里奥尔人：Fortunée哈梅林和霍顿斯博阿尔德。

霍滕斯，约瑟芬皇后的女儿，嫁给了路易·波拿巴，成为拿破仑三世的母亲。

Fortunée不是生来富有，但她成名为她的美容院和她的串突出的恋人。

巴
黎上流社会比较杰曼斯达尔和MME Raguet以密涅瓦和朱诺和命名自己的衣服为罗马神：礼服是称为植物或戴安娜和长袍是称为点菜谷神星和密涅瓦。

领先Incroyable，保罗·弗朗索瓦·让·萨科，子爵去巴拉斯，是五名董事谁跑法
兰西共和国并给出了时间它的名字之一。

他主持的保皇党，痛改前非雅各宾派，女士们，和妓女参加豪华的盛宴。

由于离婚是现在的法律，性欲比以前宽松。

然而，德巴拉斯“美誉的不道德行为可能是一个因素，他后来被推翻，这带来了法国领事馆权力和铺平了道路拿破仑·波拿巴发动政变。

最后的19 - 20世纪初的美好时代
法国重申其高级时装（法语：时装或高级时装）的主导地位，通过伟大的服装设计师房子的建立行业在未来几年1860-1960，时尚媒体（时尚创立于1892年的美国和1920年在法国）和时装秀。

第一次现代化的巴黎时装设计师的房子被普遍认为是英国人查尔斯·弗雷德里克·沃斯，谁主导了行业从1858年至1895年的工作。

[14]在十九世纪末和二十世纪初，同行业中通过这样的巴黎时装屋的房子扩大雅克·杜塞（成立于1871年），Rouff（成立于1884年），珍妮·帕奎因（成立于1891年），在卡洛特SOEURS （创立1895年和四个姐妹的操作），保罗·波烈的（成立于1903年），路易斯Chéruit （成立1906年）马德琳·维奥（成立于1912年），艾尔莎夏帕瑞丽（成立于1927年）和巴黎世家（由西班牙人瓦尔巴黎世家于1937年成立）。

由可可·香奈儿创立香奈儿，它首先来到突出在1925年，它的理念是通过她的服
装来强调低调的优雅。

她的人气兴旺，因为创新的设计在20世纪20年代。

Chanel的
自己看自己是不同的，新作为她的创作。

而不是通常的苍白的皮肤，长头发，浓郁的女性首选的时候，香奈儿有一个孩子气的人物，短短发，和晒黑的皮肤。

她有一个独特类型的美女，世界来到拥抱。

马文化，爱好打猎的精英们如此热情追捧，尤其是英国，解雇了香奈儿的想象力。

她以自己的热情放纵的体育生活导致了服装设计这些活动的通知。

从她对水的世界游艇之旅，她挪用与航海追求相关的服装：横条纹衫，喇叭裤，圆领毛衣和espadrille鞋，
所有的传统穿水手和渔民。

第二次世界大战
占领巴黎在第二次世界大战中，包括美美维奥和香奈儿美美在许多时装公司关闭。

与此相反的时尚，解放巴黎女人，维希政权提倡的妻子和母亲，健壮，运动少妇，这个数字谁是更符合新的政治标准的模式。

德国，与此同时，在占有超过一半的法国生产的，其中包括高级时装，并正在考虑搬迁法国高级女装柏林和维也纳，谁都不能从时尚任何显著传统的城市。

这Chambre Syndicale德拉时装的档案被查获，多为他们的客户名单
作为犹太人被排除在时尚界在这个时候。

在这个时代，就业模式的数量被限制在75和设计师往往取代材料，以满足战时短缺。

从1940年起，不超过13英尺布（4米）被允许用于一件外套和一点点超过3英尺（1米）的衬衫。

不带可能超过一个半英寸（4厘米）宽。

由于节俭战时标准的结果，。