Category: Fashion

Six Best Fashion Periods Throughout History

The Victorian fashion era began with Queen Victoria’s reign started in 1837 and ended in 1901 upon her death. It marked a critical time in Britain’s history and around the world. The period saw many changes in fashion, including changes in styles, fashion technology, and the methods of circulation. Various movements in architecture, literature, and the decorative/visual arts as well as a change in approach of the traditional gender ‘roles’ also influenced fashion. Modesty and propriety were a very important feature of Victorian fashion, dresses that covered the arms and went right down to the ankles were recommended and looked down upon if not worn. The 1840’s fashion is characterized by low and sloping shoulders, a low pointed waist, and a bell-shaped skirt, that grew increasingly larger throughout the decade. Neckline Bertha (first recorded in 1835–45; named after Bertha who died A.D. 783, wife of Frankish king Pepin) was a staple in the Victorian era for its low-shouldered neckline worn by women. This cut of neckline exposed the woman’s shoulders. It was often trimmed all over with lace flounce (ruffles) or the bodice has a neckline that has been draped with several horizontal rows of fabric pleats to create extra volume. However, the skin exposure around the neckline was only restricted to the upper and middle class, working-class women during the Victorian time period were not allowed to reveal so much flesh.

Edwardian Era. After the passing of the deeply influential Queen Victoria, who died at 81 on the 22nd January 1901, her son Edward rose to over the throne. Known as the decade of the Suffragette, the Titanic, and the Gibson girl. The 1901-19010 transformed the fashion industry unconditionally. Couturiers of Paris introduced a new columnar silhouette, with distinctive ‘S’ shaped curves. This was generated by the introduction of the ‘s-bend’ or ‘health corset. This was the style that altered the wearer’s posture and silhouette. Towards the end of the decade, the fashion turned to girdles and away from the dramatic hourglass silhouettes that have been forced apron women in 1837-1910. Fashion-conscious bustles gave way to long sleeves and a Slim-trim fit. Elongated silhouettes curvy hips and fuller low chests were the unique characteristics of the Edwardian Era. A belt or sash was often worn with different dresses, this would effectively nip in the waists and would complement the dress. Towards the end of the Edwardian Era, (1908) the skirts left the floors and reached ankle length. This saw the beginning of a trend, which continued through the years to come. A new generation of hats also was introduced for daywear in the era. Between the two most popular hats were the automobile bonnet was meant for use while riding and sailors were preferred for tennis matches.

The Roaring 1920’s. The 1920’s fashion centered on the revolution of ‘freedom’ in clothing but also morals. Both men’s and women’s 1920’s clothing broke out of the prim and proper molds of Victorian and Edwardian ideals and into free-spirited casual clothing. The roaring 20’s fashion gained comfort while showing off an entirely new and outrageous use of color and decoration such as beading and different textural embellishment fringing and lace. Casual sporting attire was introduced in the 1920s. In addition to bathing suits, tennis uniforms, and golfing outfits, simple, comfortable skirts, sailors blouses, and the large-brim hates were worn by women to effusive they are free-spirited. Flappers wore short or bobbed hair, a dress that came to the knees; her stockings were rolled below powdered knees. The flapper dress was baggy hid her curves however showed her arms. Young looks that tried to hold on to the look of the prepubescent girl while at the same time being overly, and cursedly sexual. The waists dropped drastically, therefore, creating a more relaxed waisted silhouette. By 1926, dresses reached their shortest length. Short evening dresses are elaborated with brightly colored beading and fringes such dresses gave birth to the famous cocktail dress of today. Overall the central idea of the 1920s woman’s fashion was the worship of youth and sex.

1930’s Bias Cut Clothing. The decade began with the immediate effects of the 1929 Wall Street crash in America, which drained fortunes rapidly and quickly affected the whole American economy, leading to widespread poverty. The ’30s saw the birth and rise of ready-to-wear clothing and therefore the production of clothing cheaper, man-made fabrics like rayon and silk. Fashion was now available to most not just the privileged few and it absolutely was beautifully designed, cut, and made for consumers. The silhouette was long and lean, partially because of the popularization of Madeleine Vionnet’s bias cut, a way that permits fabric draped over the body. This involved cutting the material at a 45-degree angle rather than along the straight grain and salvage age. This method allowed giving emphasis on the woman’s natural carves using a horizontal stretch pattern. Old Hollywood evening gowns include backless, sleeveless long bias-cut dresses also often this might create a tiny low train within the back of the long hemmed garment. Shoulders were exaggerated with puffed sleeves, shoulder pads, full collars, large yokes, and ‘caplet’, ‘butterfly’ or ruffled sleeves to create the waist and therefore the hips appear smaller compared.

1940s WW2. The 1940s was a decade many countries around the world cannot forget. With the second war (WW2) and clothing rationing, the wartime pride of fashion on a budget became the norm. Fashion within the 1940s was an honest mixture of comfort and glamour. 1940s fashion for men and ladies experienced deep changes but also created a number of the foremost flattering designs of the 20th century. With the beginning of the war, and strict rationing on fabric led to the movement of make do and mend, dresses within the 1940s became shorter. Whereas the 1930s featured dresses all the way down to mid-calf, the 1940s brought them up to knee-length. The war also affected the highest of the dress. One of the less predictable consequences of the war was the rise of two-piece swimsuits, resulting in fabric rationing enforced. Woman’s clothes took on a masculine militant look with the invention of shoulder pads. Every dress, blazer, blouse, or jacket was all fitted with shoulder pads that exuded just a touch past the sting of the shoulder, this made for a boxy or square neckline and shoulder angles. There was no cleavage. All top’s dresses designs were modest, revealing little skin. Skirts were long and full within the early 40s towards the tip got sleek. The neckline of the 1940s dress came in a variety of cutouts. Evening dresses were the emotion spaghetti straps or halters tops revealed shoulders and chests but only mid cleavage. In protest to grim times, color swept over the style landscape. Acid greens, hot pinks, reds, and pale blues were popular hues within the early 1940s. Despite the problems of the time, social etiquette still required women never to depart the house without wearing stockings. Fashion essentially ‘paused’ during the war. Many of the couture houses in Paris who were the globe leaders in fashion at the time were closed down or ceased trading during the occupation. The material mills turned their attention to production for the war.

The 1950s The New Look. In many ways, the 1950s took a big step back in time, especially for women. During World War II while the men were away, women began to gain independence. They left their homes to work in offices and factories, earning and managing their own money. Clothing was heavily restricted throughout and just after the war because of rationing fabric. There was a major shift in post-war fashion in the late forties. The collection launched in 1947, it was Dior’s first. Dior’s couture fashion house, which went on to be one of, if not the, biggest influence on post-war fashion. The signature style was made up of certain key elements e.g. full skirts, waspy waists, and soft shoulders. The New Look in summer 1947 emphasized the bust, waist, and hips reasserting female sexuality. Many women were outraged, especially in the United States. Protests were held targeting Dior and his new clothing. Women had just gained a large amount of equality and weren’t ready to give it up – both in work and in fashion. The new clothes used excessive amounts of fabric, needed constant maintenance, and required a complete coordinated accessory collection to be “perfect.” However, after the hardships of the war (WW2), everybody was ready for a change, and by the start of the ‘50s, everybody was wearing the New Look. To understand the fashion of the past fifty years- from the ‘New Look’ to now- it was necessary to review what happened earlier in the century, and to focus, in particular, on the years between 1939 and 1944.

The History of Fashion Essay: from 1900 to Present

1910s

The 1910s saw changes to the women’s dress silhouette, with narrow waists and corsets giving a slim and straight silhouette. Big hats were also popular. At the beginning of the decade, Orientalism was also on the rise, with draped fabrics and vibrant colours becoming popular. Only the most daring women adopted this style however as it really pushed fashion norms at the time, few would be seen wearing the harem trouser style developed in 1911. With WW1 beginning in 1914, people were forced to cut costs and elaborate styles were put on hold and people having to go for practicality over style, making do with what they had in supply at the time. Often military-style clothing was worn, being very simple and practical. Some women on the home front in more practical jobs turned to wear overalls and trousers during factory work.

1920s

The 1920s is known as the golden era of fashion. A new form of fashion arose within the wives of industrialists, American entrepreneurs and film stars. With women gaining independence, so did their style with rule breaks and widened public acceptance. Women no longer faced having to dress feminine and a more sporty look came into fashion with bob cuts and short skirts. Similarly in menswear, there was significant relaxation of ‘fashion rules’ and a sporty look dominated. This decade was characterised by Coco Chanel and the little black dress. What is noticeable about this period, however, is how often both men and women would change clothes. Every time of day and outing or event required a different style of dress. Fur coats were also popular in the winter months, as well as long pearl Art Deco colour necklaces.

1930s

The 1930s: Wall Street crash and economic decline. fashion went two ways for women during this period, long skirts and evening dresses became back on trend, but many women also simultaneously wore trousers. Women also gained an interest in sports and a more athletic sporty style. The latter half of the 1930s was influenced by Hollywood glamour and day styles began to take a sporty turn with this really coming into play in the 1940s and beyond. Marlene Dietrich was famous in Hollywood in beyond for pressuring the stereotypical rules of fashions, her most famous quote being: “I dress for myself. Not for the image, not for the public, not for fashion, not for men”. She was the first famous woman in history to rock a pant-suit.

1940s

With a dull fashion evolution to start the 1940s with WWII, the fashion industry thrived beyond this. The typical customer changed from only the richer members of society to the common man at the centre. Mass manufacturing began with ready to wear clothes at lower prices. The centre of fashion moved from Paris to London and New York. Polyester and nylon had just been discovered and this proved revolutionary.

1950s

The 1950s: with the West characterised by high disposable income and a booming economy, the youth became more fashion inclined than ever before. Brands such as Marks and Spencers were born. James Dean, an American movie star, became a trendsetter with the iconic look of blue jeans, T-shirts, and leather jackets, something which then became highly popular for mass-market consumption. At the same time, Italian tailored suits came into the trend with single-breasted suits, tapered pants, narrow ties and pointed shoes.

1960s

Unisex clothing characterized the early 1960s. Cocktail dresses of the 1950s were also popular in the early 60s for dinner parties and evening wear. Mini skirts hit shops in 1965. Tight trousers and brightly coloured military jackets were popular within menswear. Yves Sait Laurent was popular among youths and jeans became more accepted as daily wear. The Mod fashion really took speed in the 60s around London and the rest of the world. For Women, this meant short shift dresses, bold colours and geometric shapes. Co-ord outfits also became popular with matching jackets to dresses or top and skirt sets.

1970s

Punks of the 1970s with ripped t-shirts, chains, and wild hairdos. Flared trousers, hippy maxi skirts, and bell-bottomed jeans. In the late 70s, cowl neck shirts, pantsuits and tracksuits became popular. Many believe the 70s to be one of the most stylish decades, with such a wide range of accepted styles and fashion movements, polyester was the material of choice and bright colours were highly desirable. High cut books and low cut flared jeans were all the rage of 1973. For men, half-buttoned-up stripy shirts with chest hair on the show were highly on-trend, along with sideburns and tennis headbands.

1980s

Jeans (in particular ripped knee jeans) were a wardrobe staple in the 1980s. Women often wore tailored suits with wide padded shoulders. Nike, Adidas and Reebok became highly popular fashionable sportswear, with tracksuits, leggings and trainers. With the sporty trends, leg warmers were often paired with neon leggings and infamous big permed hair, often the bigger the better. This look was also often fished with a sporty cut off jumper.

1990s

Fashion shows changed styles in the 1990s. Globalization leading to an international influence in fashion. With international styles coming in through television and media. Subcultures also developed with groups of like-minded people developing their own style; from hippies to rockers. Synthetic materials also became popular as well as luxury grads such as Prada and Gucci.

2000s

The 2000s were the basis for ‘streetwear style’ where comfort is key. 5 key countries drove fashion ideas and fashion innovation: America, Britain, France, Japan and Italy. This is when fast fashion was born, online selling platforms and mobile obsessed consumers.

Fast Fashion Essay: Reasons Why It is a Problem

A popular trend in clothing in a particular place during a specific time period. Inexpensive clothing is created based on fashion trends, which encourages clothing disposal as a result of its fast-response system.

Started and influenced due to competition among clothing brands and to increase profit. Large apparel brands such as Zara, H&M, Uniqlo, and GAP would produce cheap, low-quality clothes consist of synthetic chemicals and non-sustainable dyes. These large companies manufacture their products in 3rd world countries, where the working conditions are poor, wages are low and production is bad for the environment. The clothes are then shipped to stores in Europe and North America to be sold for very low prices. Low prices encourage consumers to buy more for less, only for the clothes to end up in landfills. The decay of synthetic garments in landfills is detrimental to the environment. Dyeing and printing consume tons of water and chemicals and it also releases numerous volatile agents into the atmosphere that are harmful to our health.

With the increase of clothing production, many items are discarded and eventually thrown out after a few uses for new weekly trends. These disposable items create numerous harmful impacts on the environment, including increasing greenhouse gas emissions through landfill pollution. These great amounts of clothing waste also help contribute to global warming through water pollution. The different types of fibers used to produce clothes all have their own negative impacts. Synthetic fibers have sustainability issues and aren’t able to naturally degrade that pollutes the oceans. This harms the wildlife because various animals can consume plastics which can kill them due to the toxic compounds inside.

The different levels of government are taking the initiative to minimize the environmental impact of fast fashion. At the municipal level, Markham bans clothes, sheets, towels, curtains, and shoes from trash bags. Instead, residents drop them off at city-run street-side collection bins. Anything collected is donated to the Salvation Army and the Canadian Diabetes Association. At the provincial level, Ontario MPP Donna Skelly calls on her government to implement a province-wide stewardship program to put an end to the fast fashion cycle. At the federal level, the government requires retailers to pay taxes and duties on all imported garments. If a garment goes unsold, companies can either discard it at a landfill, and the import duty is refunded since the garment is considered unused, or recycle the material, which makes it “used” according to the government, and the duty is not refunded.

A Canadian brand called “Wallis Evera” uses hemp on its garments. It is a natural fiber (instead of a petrol-based fiber like nylon, acrylic, or polyester), and they are incredibly durable and also biodegradable. Hemp also requires very little water and no harmful pesticides, insecticides, or fungicides.

In 2007, Kelly Drennan founded Fashion Takes Action, the only non-profit organization in Canada focused on promoting sustainability in the fashion industry and among consumers. Hosting conferences like WEAR (World Ethical Apparel Roundtable) and Eco Fashion Week were also promoting a brighter future in the textiles industry.

Big brands are starting to take notice. Nike, H&M, Burberry, and Gap have all recently signed up for the Make Fashion Circular initiative. It aims to improve the industry’s record on sustainability and reduce global waste from fashion by recycling raw materials and products.

These policies are helping bit by bit, but they have not solved the overall issue of Fast Fashion. Fast Fashion is still a global issue, and it won’t ever go away and stop until everyone becomes aware. We need to promote more NGOs on our social media because they encourage emerging designers to pursue sustainable (not fast) fashion. But most importantly, the government should focus more on educating people about the consequences and impacts of cheap clothing, then Fast Fashion would become easier to solve.

We think that the previously stated methods towards solving this issue are very effective, but it would be very beneficial to the environment if consumers learn to purchase less or what’s necessary and to make better use out of what they currently have.

Consumers could simply change shops and buys at stores that aren’t engaged in fast fashion and purchase higher quality items that consist of harmless fabrics. Eco-friendly clothing items that are made out of organic fibers are so beneficial to the environment. Although they’re pricier, it would be worth it in the long run as they are less harmful and are more breathable.

Consumers should wear their clothes fully until they can’t be used. Once that happens, rather than throwing your clothes out, it’s a great idea to recycle your clothes because it’s very easy and doable. For example, if a sweater or a t-shirt gets too small or old, you could cut pieces out of it to make a new item, like mittens, or transform it into a “trendy” crop top. This prevents these items from contributing to landfill pollution and water pollution. It also allows people to become more resourceful and think more about how they can help the environment.

Conclusion

Lastly, cooperative interactions between customers and fashion companies can really help build a relationship that will allow them to collaboratively and more effectively work towards fixing this issue. If both consumers and the fashion industry continue on with their efforts and further promote awareness in Fast Fashion, we believe that there would be a list of positive results about this issue.

Fashion Development in Paris And Australia

Throughout the world, Paris, along with London, has been known as the fashion capital of the world and has been that way for hundreds of years. France first began to recognise clothing as a business at the start of the 17th century with the introduction of the mass amount of exports of clothing products.

Fashion in France was a booming business and was first noted as a heavy investment within the countries historic seams through the marvellous and grand clothing designs worn by Marie Antoinette during her life living in Paris as the wife of Louis VIII, the dauphin of France. Marie and her husband are one of the major reasons why French royalty is known for its opulence and excessiveness. France was also the first country to separate styles into seasons. Louis fascination for elaborate wigs actually created a black market for human hair.

Marie-Antoinette was very inspirational for her wealth and sense of style. “This is one of the major reasons why the French people despised her, as she seemed to have cared more about getting the latest dresses, shoes, and wigs, than feeding her people. Marie-Antoinette popularised sky-high wigs, putting feathers in her hair, and custom made dresses by designer Rose Bertin. These custom made frocks were just the beginning of the style category Haute Couture.”

One of the most disastrous financial blunders that fell upon the country in the way of fashions was actually down to a necklace diamond necklace affair which bankrupted the jewellers and leading to financial difficulties for the population of Paris. The affair started when Louis XV of France Brough his mistress du Berry a 2,000,000 ( approximately $14 million USD in 2015) necklace. It took the best jewellers in France to make the diamond and it took seven years but when the King died of smallpox and du Berry was banished from Versailles Louis XVI offered it to Marie who refused it. This left huge financial damage on the jewellers of France as no one else could afford the necklace and the ones who could afford it did not want it. After the continuous scandals, many people saw the now queen of France as a spendthrift, licentious and empty-headed foreign queen taking root in the French psyche. “As you all know, the reign of Marie Antoinette in the fashion world sadly ended when she was dethroned, put in jail, and eventually killed by French revolutionaries.’

After the French Revolution, the women of Paris started to revolt against the original and traditional garments worn such as the hug corseted dresses as usually worn by Marie Antoinette. Instead, they opted to abandon the “ornate construct of overbearing fashions of the 1700s and moved to the long flowing muslin dresses based upon classical designs of the Greeks and Romans. This new elegant style draped the figure with a flattering high Empire style waistline. The fashions of the early 1800s were not only elegant and pleasing to the eye, but were very comfortable.” (‘Fashion in the 1800s | French Fashion History’, 2019). It was during the late 18th century where the first fashion magazine was published named Journal des Dames et des Modes with included issues of hand-coloured fashion engravings. The first magazine was published in June of 1797.

Haute couture then came blooming in after the French Revolution calmed down and the bloodthirst was mostly gone. Although it originally started in the courts of Marie Antoinette due to economic breakdown within the county, it was mostly isolated to only the wealthy high profile persons. In the 19th century, Haute Couture made its come back. This was made possible to a man by the name of Charles Frederick Worth who was the founder of ‘The House of Worth’ which was the first modern couture house located in Paris. With the new opening of ‘The House of Worth,’ many other French fashion houses opened up. “Famous designers of the time included Jeanne Paquin, Paul Poiret, and the House of Patou. It is thanks to these artists that the term fashion designer came about” (‘History of French Fashion in Paris’, 2019).

During both the World Wars fashion was put on hold due to the limited amount of resources that were needed during the war. Paris during Both WW1 and WW2 were forced to closed their fashion houses due to the rationing of fabrics and this was reflected throughout Europe during this time. After WW2 the world of fashion launched into new the world of new designers and women were ready to treat themselves to the luxuries of new endless amounts of luxury fabrics, elegant designs and designer labels. Designers such as Chanel made their comeback after closing their haute couture houses during the war. The new influx of luxury fabrics brought about new designers such as Pierre Balmain, Christian Dior and Hubert de Givenchy who all emerged in the 1950s.

In the mid-1840s fashion of that time imitated both England and French-style sand trends. The children clothing was clothing that represented their social class and family wealth. “Sons of the wealthy wore similar clothes to adult males of the time; a frock coat, a waistcoat, an upright winged shirt collar, a necktie and in some schools, a top hat. Girls from the wealthy classes wore long two-piece outfits with waisted jackets with a pleat at the back and petticoats under the skirt, their hair in ringlets, and a bonnet with ribbons. Working-class clothing reflected their role as workers in society; women as domestic servants and men as labourers and children working doing odd jobs such as selling homegrown vegetables and fruits”. (‘1840s | My Place for teachers, 2019)

In the early 19th century there were quite a lot of changing designs that were usually seen in England and in Paris as the climates down in Australia are very different. New additions to the usual designs of clothing started to emerge such as wide brim hats and lightweight silk coats in summer.

The New Look became incredibly popular and it continued on the emphasis on women expressing their sexuality in fashion, magazines and find using the war. Unfortunately, not everyone was in agreement with the newfound freedom women had with their styles and fashion. “Government figures, military leaders and members of the clergy railed against the spread of venereal disease and women’s supposed lax sexual morality. At the same time, however, a surfeit of images and articles encouraged women to maintain their sexual allure in order to boost the morale of serving men”(‘Glamour returns to post-war Australia’, 2019).

The Lew looks focus turned to the extenuate women’s waists and busts but this trend required specific body types to pull it off which brought in the undergarment known as ‘waspies’ which was waist specific girdle which bought about corseting in the 19th century.

Before the 1850s fashion in Australia didn’t wasn’t highly noted throughout society due to the vast majority of the population being of a very poor and lower class range and also due to functionality due to the main street and current surroundings being mostly dirt and mud. Wearing fancy clothes at this stage in Australia was only left for the filthy rich who never did their own washing and barely left the comforters of their own home. During 1850 the newfound discoveries of golf within the countries soil in the area of Ballarat brought in vast amounts of immigrants and large yuan cities of supplies and luxe items such as pineapples, silks and valuables. The Victorian gold rush brought not only luxury items and vast amounts of people to the land, due to the prospect of finding gold but, also brought along the prospect of becoming wealthy. The wealth from gold hit women with the prospect of wealth and divine clothing and accessories. The prospect of wealth attracted a lot of families and women to the goldfields and living conditions improved and spoon permanent houses were built by the late 1850s. Soon trends of fashion hit the muddy streets of Ballarat with the most fashionable of clothes coming directly from France, England and the USA. By this time Ballarat had become one of the richest places in the world and the current fashion trends worn not only by women but by men as well reflected the new flux of wealth in Australia.

Despite the newfound internets in extravagant corsets, crinolines, top hats and jewellery which became all the rage, the wearing of extravagant and luxury items became more noted throughout the country it was a symbol of social status class in society.

Despite the flashing of money during this period of time, those who didn’t prosper from the gold and were poor, which is noted to be a lot of the population at this time, wore clothing of what every there could find and patch together. Power women made their clothes by hand not only for themselves but their husbands and children as well until the introduction of the sewing machine in the early 1860s. While wealthy women had their clothes tailor-made with whatever fabric or design they desired. The wealthy enjoyed luxurious amounts of fancy fabrics, silks, expensive accessories and dyed coloured fabrics all due to the booming industrial revolution. Compared to nowadays, fashion brand names weren’t really noticeable or even vented yet and had no standing of wealth and possible social class, unlike today. Instead many women especially paraded around the streets showing off their lace, tall hats, silk ribbons, and excessive amounts of gold jewellery was the way of showing off and making a point of your social status. During the time of the gold rush large pieces of gold jewellery were the fashion and trend in the 1850s in Ballarat.

In 1838 the Australian renowned department store David Jones first opened its doors on the 24th of May. It opened its doors in Sydney on try corner of George and Barrack street. In July 1948, after WW2, David jones first welcomed famous french designer Christian Dior designs. Dior had introduced the Corelle Line which re-established Paris as the centre of International style after WW2 interruptions and made the brand even more popular.

“The New Look’s emphasis on busts and waists was received rapturously. After nearly a decade of shoulder pads and short straight skirts, women around the world were hungry for the glamour and feminine luxury of Dior’s fashions.” (‘Glamour returns to post-war Australia’, 2019)

Due to the war, many recourses became rationed but as fabric, paper and the coloured film gradually became more available to more new French styles became available and brought about a focus point for thousands of Australian women. A desire to pursue and dress in the most glamorous attire was achievable after many years of rationed clothing and supplied during the war. “Following its Sydney debut, the New Look became rapidly popular in Australia, where French high fashion had been held in the highest esteem for decades. Many Australian women maintained a belief, fostered by local magazines such as the Australian Women’s Weekly, ‘in the importance of Paris as the centre of style’”(‘Glamour returns to post-war Australia’, 2019).

For in both Australia and Paris during the 1960s was a pivotal time in drastic changing clothing and celebrity icons. In Australia, the introduction of the ‘Mini Skirt’ was noted as a scandalous move but popularised by hippies and celebrity icons such as Audrey Hepburn, Marilyn Monroe and the English model known as ‘Twiggy’ due to her twig-like appearance. The fashion which graced the streets of Australia was named modern fashion or ‘mod’. Mod referred to the lifestyle lived and worn by people in London, where it originally started but soon mod overtook the world speeding all over Europe such as Paris then moved to America and exploded in Australia, especially with the vats growing economy. “1960s fashion broke the social traditions of the previous decade, allowing more freedom for peoples attire. There was either ‘formal’ or ‘casual’ wear and distinct separations as to what was for women and what was for men. The 60s brought us unisex clothing, like denim jeans. Based on the successful pop music, art and fashion scene this new mod lifestyles goal was to be innovative and different. The mod fashion designs were slim-fitting, with bold featured shapes in bright and wild tones. Contrasting the browns, greys and pastel colours of the 50s. Unlike the past fashions were being mass-produced and were affordable.” (‘Fashion’, 2019).

In Paris, during the 1960s it brought to light ready-to-wear fashion. Up until this point, all fashion was standardised with most of the population wearing very similar clothing and styles continuously unless you had the wealth to support a large wardrobe. It was very normal to have between 2-3 outfits for women from the 1700s – 1950s for those in the middle to lower class section. This was all changed with the entire of the 1960s with the introduction of Prêt-à-porter which means read to wear. Clothing began to become easier to make and Manufacture in mass amounts and became a lot more affordable with the introduction of synthetic materials. Designer burin this time became to embrace the new trends and affordable materials and Parisian designer Yves Saint Laurent is heavily credited to be the driving force behind this startling trend. Parisian icons such as Brigette Bardot, Jane Birkin and Françoise hardy rose to fame during the 1960s and embraced the change in designs and fashion and promoted it throughout not only the country but throughout Europe.

How The War Influenced The Fashion Industry

Fashion, throughout history, has been and still is ever-changing and evolving however periods clearly separated in chronology and that are distinguishably different can have similarities as well. Throughout this essay, both the periods of World War I and World War 2 will be compared and contrasted to that of the era of Dior’s ‘New Look’. Specifically, in relation to these times in history, this essay will explore ‘fashion on the ration’ in times of war and the excess of fabric used with the New Look. In exploring these periods, the focus will be predominately on the similarities and differences of the social, economic, and political influences of the times. There will be an analysis of how less gave way to more in regards to design, fabric, and notions between 1920 and 1950 from when the first World War began to when Dior introduced the New Look two years after the end of World War 2.

Two of the most world-defining events in history would have to be regarded as World War I and World War II. The repercussions and changes brought about by these wars are still very much noticeable today in both women’s role in society and women’s clothing. Similarly, Dior’s ‘New Look’ can be considered as one of the most defining moments in fashion history. The name ‘New Look’ was adopted by then Harper’s Bazaar editor-in-chief Carmel Snow after his first haute couture show in Paris in 1947 and having opened his couture house after the ending of World War II. Dior’s “first collection revolutionized the aesthetics of the time”. These two periods, specifically ‘fashion on the ration’ and Dior’s New Look with the use of excess fabric have both similarities and differences that will be further explored throughout this essay.

Ways That Ww1 Influenced The Fashion Industry

Prior to World War I, Paris was fashion’s capital. Women from all over the West looked to the Parisian designers for fashion direction and style. Designers such as Georges Doeuillet who introduced a new style for the era that “revived” the empire waist and Paul Poiret, whose designs prevailed throughout the first decade of the 20th century due to the most stylish women visiting him for clothes as his “approach was so advanced and radical that they didn’t work with any other designer’s garments”. Before the eruption of World War I, Poiret’s hobble skirt design and the re-emerging ‘directoire’-styled dress, which gave women freedom of movement with higher waistlines meaning there was no need for corsets, were popularised by many women. However, this style of dress did not last as a more streamlined style was introduced to allow women flexibility in their dress when having to step into traditionally male roles once men were sent off to fight. The hobble skirt style was replaced with a-line skirts as they were to resemble military wear.

Fashion during World War 2

The outbreak of World War II transitioned the world back as it was two decades ago. With more at stake in World War II, the repercussions were set to be immensely bigger and on a global level compared to the previous war. As opposed to World War I where rationing was only introduced in January of 1918 and the war ended in November of 1918, World War II erupted and rationing began immediately. In contrast and not that the first World War wasn’t taken seriously, but for the second, people knew what to expect as well as knowing that being twenty years later, the war and fighting capabilities would be far more developed than previously.

From the experience of the German Blockade that introduced rationing in 1918, rationing for World War II was introduced in 1940, only a year after the war had begun, compared to four years after the first world war. Clothes rationing was introduced in 1941. A fixed number of clothes per person was determined and coupons were issued to control the amount of clothing allowed to civilians. In 1942, America aimed to limit fashion’s influenced even further with the introduction of the Production Board issued Limitation Order 85 (L-85). L85 endeavored to save 15 percent of domestic fabric production along with “forty million pounds of wool cloth”. The Order influenced more than just the quantity of fashion; details and notions were no longer allowed, clothing was less full and ultimately clothes became less showy and stylish. Many issues arose with the rationing and coupon policy. The coupons indicated the number of items you were able to buy but did not specify a cost which created inequality). Rebellion against the restrictions was popular and the distinct difference between rich and poor grew.

Europe was left in a state of complete chaos at the end of World War II. The Allied win propelled the United States into the powerhouse status they still currently hold worldwide and Paris started along the road to recovering after German occupation from 1940 to 1944. Only two years after the misery that was World War II in Europe, Christian Dior showcased his debut collection on February 12 1947 in Paris. His collection signified an end to the utilitarian, military-inspired and subdued garments that were worn throughout the war. The newness for younger generations but on the other hand, rather transition to pre-war style was well-loved by many with a comment made that “God help the buyers who bought before they saw Dior” and a claim by Harper’s Bazaar then editor-in-chief Carmel Snow “Dior saved Paris as Paris was saved by the Battle of the Marne”. With all of the love, awe, and praise of Dior’s New Look, it also attracted criticism, with mainly American women believing that the New Look was impractical and anti-feminist, compared to the wartime where it became acceptable for women to wear the same as men. Upon Dior’s first trip to America, he was met with women holding signposts that read “Down with the New Look”, “Burn Monsieur Dior” and “Christian Dior Go Home”. Dior’s looks continued to be controversial in regards to its affordability, the questioning of feminism, and the use of fabric considering much of Europe was still upholding their wartime restrictions.

Both World War I and II share many similarities in that they were both on a worldwide scale, both the Central Powers (Germany, Austria-Hungary, Bulgaria, and the Ottoman Empire) and the Allied Powers (Great Britain, France, Russia, Italy, Romania, Japan, and the United States) suffered many casualties and that the home fronts for all were severely affected. Due to the instability and devastation throughout Europe from the events of the first World War; unsettled issues from the end of the war in 1918 were left brewing for a further two decades before the resentment was unleashed by a Hitler-led German invasion of Poland.

Changes in women’s dress can be directly linked to the influence World War I had on the home front. Women had already begun transitioning into traditionally male-dominated jobs before the war erupted however, it pushed the social dynamic to change further in regards to the workplace. Women’s dress became much simpler, besides the trend of the hobble skirt, however, this didn’t last very long. The simplicity, along with the addition of masculine and military features dominated women’s clothing during the war effort. In contrast to the masculine changes adopted to women’s clothing, Dior’s New Look of 1947 brought back pre-war femininity which had mixed responses. The ultra-femininity of the New Look was unliked by feminist groups and created some negativity around the designer who was set to bring fashion back to Paris.

During World War, I and II women were all for taking on more responsibilities. They had been pining, marching, and petitioning for more female presence in the workplace. The war and the space in jobs left by men who had been conscripted into the war efforts gave women the chance they had been looking for. And in turn, traditional clothes women had been wearing needed to change. Although women’s fashion had already begun evolving, the war fast-forwarded these changes. The working woman was unable to wear masses of fabrics in the form of skirts and dresses due to the restricting nature of such garments as well as the need to condense the amount of fabric being used in order to make military uniforms for soldiers. Changes saw a more masculine feel being adopted into women’s wear. Trousers and skirts that were more masculine than feminine became popular, as did skirts that were made similarly to that of men’s military uniforms. Unlike the excitement felt by women in the need to transition into more practical and ‘masculine clothing, Christian Dior’s revival of Parisian couture attracted much criticism from these same women who believed that the New Look and other looks from Dior’s 1947 collection were anti-feminist and ultimately derailed all the work done by women in order to be seen as equal to their male counterparts and be able to work in similar jobs. Women were now more prominent in the workplace than ever before and didn’t want to have to wear ‘ultra-feminine dresses. They loved the conformity, practicality, and easy wear of traditionally male garments such as trousers, pants, and skirts that were more masculine-inspired.

During both the World War I and World War II periods, money was tight. The US especially was unprepared for the economic strain the war would create. Businesses didn’t have a lot of money to spare as people were not spending in this time of crisis. It wouldn’t be fair to say that fashion took a massive hit in the war periods like World War I specifically brought women more comfortability and practicality in fashion and everyday wear, however, it did create a massive shift in the evolution of fashion. In World War II, however, this was direr on a global scale for most aspects of the allies countries including potentially being under foreign rule due to invasion and conquering by Germany if the Ludendorff Offensive on Paris had have succeeded. Rationing in World War II also brought about limitations for designers and clothing for women. The introduction made the fabric that was available for use was made more expensive so in turn increased the price of all aspects of clothing manufacturing. Wool and nylon were needed for military clothing, so most of these were unavailable to civilians. Japanese silk was banned in the USA following the Japanese attack on Pearl Harbour, and rayon was the newest fabric innovation to be introduced and was predominately used for womenswear during the war.

Similarities between the war periods and Dior’s New Look include that they both had a major influence on fashion. Throughout eras prior to World War I more fabric was used the majority of the time as this indicated wealth and higher status amongst richer individuals. The factors of women needing more practical garments to wear whilst working, along with the fabric rationing introduced in 1918, less became popular. The Art Nouveau-styled figure dominated the war period. The traditional bodice piece transitioned into the brassiere which was now more sort after by women who were becoming more physically active. In these simplistic but equally elegant garments, the more affordable fabric was being used in the form of rayon. In the war year of 1914 – 1918, rayon was a new innovation having been developed in 1846 but only began to be manufactured in the United States in 1911.

Following on from the previous topic of the contrast between more and less, wartime rations favored minimalism, practicality, and simplicity in fashion and as the wave of Dior’s New Look after the war had come to an end signified a rebirth of a type of maximalism, and layers and volume in fashion, I have decided to look at how designers incorporate both minimalism and maximalism within some well-known designer collections and how these balance each other. An interesting example that can be seen to have taken aspects of both is Raf Simmons for Jil Sanders Spring 2011 Collection. The collection developed through a discussion of minimalism which leads Simmons and his team to begin to explore the inverse; maximalism. Although in the explanation of his inspiration on Vogue Runway’s website, he wasn’t directly inspired by either wartime limitations on fabric or the drastic change to the voluminous fashion of Dior’s New Look, there are undeniably several aspects of his collection that can be considered a nod to both these times in fashion history. The minimalism aspect of the looks can be seen with the inclusion of the white tee-shirt, paired with large, exaggerated balloon skirts that all feature different shaping and design details. Another resemblance that can be made to both the World War 1 and World War 2 periods is the trousers and tailored jacket look which is reminiscent of women stepping into male roles during the war and experimenting with the traditionally male garments including trousers and formal suits jackets. The immense amounts of fabric used for some looks also can be associated with Dior’s New Look where more was better. However as opposed to Dior’s crispness and accentuation of the bust and hips, in many of the looks in this collection, Simmons has a complete disregard for the traditional silhouette and chose to focus on the exaggerated and disproportionate shapes that can be created outside of the female form with masses of fabric.

In summary, there are many notable similarities and differences between the war periods and the fashion revolution that is Dior’s New Look. The revival of feminine dress with increased fabric usage compared to the wartime periods which had just drawn to a close demonstrates the complete opposition of these two periods of fashion. However similarly in both periods, they were influenced by social and economic factors which showed that only the wealthier could afford better clothes in the wartime and also couture garments when Dior set out to bring couture design back to Paris after the disaster of war. Both endured much criticism in the inequality due to fashion rationing and the coupon system during the war as well as the denouncing of the New Look as anti-feminist and the protests of ‘Anti-New Look’ that ensued. Although these periods of history have both their similarities and difference, ultimately they are integral to fashion today and future fashion. In the way that fashion is currently heading in transitioning the phenomenon of fast fashion into a more streamlined, eco-friendly, sustainable approach; ideas like using less material in times of war and creating elegant timeless designs like Dior can be considered.

Masculinity and Femininity In Fashion

For most of fashion history, fashion has been seen as feminine and an interest for women and was for some point dismissed as unserious and inferior. Yet both femininity and masculinity are still defined and valued through appearance. Clear gender characteristics and strong opposing definitions of the sexes should belong in the past. The lines of segregation is blurrier than ever. Yet the discussion about how far men and women can push the freedom of self expression is still controversial. So where does the definition of ‘femininity’ and ‘masculinity’ even begin or end? With these perspectives in mind, this case explores further into why there is a demand for modern masculinity and how the company will turn it into a reality through sustainable practices.

Over the years, there has been a typical perception of men dressing in restrained, gender appropriate clothing styles is seen as masculine while upholding traditional male values. For instance, they could only wear between a variation of charcoal, navy and sage suits and athletic gear. However, in today, majority of men do not wear much of tailored clothing outside of those professional situations that demand it. According to a research project called ‘Refashioning Masculinity’ that was conducted in 2017, between the ages of 22 and 78, only a small amount chose navy suit and white shirt for work, while the rest preferred more colourful choices that represent their identity (Dr B. Barry, 2017). Even though work codes are still quite traditional, the demand for modern menswear outside of work is evidently high. In the past, clothing also allows men to showcase how their bodies align with the stereotypical traits of masculine like being seen tall and toned with a perfect physique. This tend to cause men to often revaluate their own clothing decisions to keep within the masculine norms and engage in unhealthy and unnecessary diets and surgical practices (Dr B. Barry, 2017). Even though there has been a shift in this way of thinking, it is still not enough. That is why fashion is the vital tool to disrupt the boundaries of masculinity and transform into something new and show that it is okay to be more feminine.

In order for menswear to evolve and move away from the mainstream perception of male identity, the creative industries are exploring different ways to portray the complexities of manhood and emphasise the softer, more sensitive and vulnerable qualities of modern masculinity. The Book of Man is an online support network that consists an extensive team of writers and experts who offers advice and inspiration to modern men (Martin, 2019). They conducted a study on masculinity called ‘Men Are On The Edge’ which revealed that 69% of men aged 25–44 in the UK feel misrepresented by brands, stating that the usual look on masculinity are no longer relevant with contemporary life (The Book of Man, Altheo, n.d). The results also showed that 52% of men feel they need to comply to stereotypes, yet 65% believe stereotypes are dangerous to society (The Book of Man, Altheo, n.d). This proves that stereotypical traits of masculinity such as strength and physical performance are out of touch with consumers and there is a cultural movement calling for these values to change.

Fashion Influencers: Impact of Fashion Industry and Models on Younger Generations

According to Erik Erikson, a German psychoanalyst heavily influenced by Sigmund Freud, adolescence is marked by the period where one undergoes a struggle to find their identity and somehow “fitting in”, while also developing a sense of morality distinguishing what’s right from wrong, as well as developing affiliations and devotions to ideals, causes and friends. For this reason, the fashion industry and models have heavily influenced younger generations and most of the time that influence didn’t have a positive impact on the mental and physical health of young adults and society as a whole.

Fashion designers have used their platforms to create new trends and clothing styles, which in turn created non-verbal signals that display one’s social stature, values and lifestyle. The fashion industry has managed to shift the way we express our emotional experiences through clothing. Models have been considered a major factor in establishing standards of beauty and trends as to what is acceptable and what isn’t across the world, and as the fashion industry itself went through a lot of changes over the years, so have the models.

Throughout the 1980’s and 1990’s, the fashion industry was blooming and the most highlighted names in the modeling business were Cindy Crawford – size 6, Naomi Campbell – size 5, Linda Evangelista – size 6, Christy Turlington – size 6, and Tatjana Patitz – size 6 all compared to the current fashion models who don’t go anywhere beyond size 4. In the past, the models were healthy, curvy and portrayed a body image that reflected a healthy diet which in turn results in a healthy mind. Today, models starve themselves to reach the ideal slim figure and develop multiple psychological issues on the way due to being criticized for being too fat if they have a BMI above 16 (which is already severely underweight). The most common issue models face is anorexia, which is an emotional disorder that is characterized by an obsessive desire to lose weight by refusing to eat. The question to be asked here is, if a model becomes obsessed with losing weight, what message is she sending to young women who look up to her as an ideal due to her fame and popularity?

Ana Carolina Reston, was a Brazilian model who died of anorexia in 2006, at the age of 21. She was criticized and referred to as ‘too fat’ in China, where she was attending a casting call, and the comment took her on a spiral downfall for anorexia, eventually dying weighing 40kg with a BMI of 14. Her diet only relied on apples and tomatoes. In the same year, Luisel Ramos, daughter of former soccer player Luis Ramos, passed away from heart failure due to anorexia and malnutrition while she was participating in a fashion show in Uruguay. She died weighing 44kg with a BMI of 14.5. It was later that year that Madrid banned models with a BMI less that 18, and subsequently Italy did the same for size zero models. In 2007, Luisel’s sister, Eliana Ramos also died of heart attack which was then believed to have been due to malnutrition.

In light of all teenagers being easily exposed to these images of their ideals on the runways due to social media and how globalized the world became due to the web, and knowing that teenagers thrive on creating cliques and circles of common interest by communicating their values non-verbally in the form of clothing and image, what exactly is it the fashion industry is delivering to the vulnerable young minds that should be focused on building skills and personalities and enriching their minds with more arts, culture, human and environmental causes? Weighing down mental development to body image and looks would be beyond shaming to how the industry is driving youngsters further away from self-development and rather putting them on the path to self-destruction.

Sustainable Fashion and Ethical Issues

In this world of fast fashion and consumer culture, it’s easy to be caught up in a plethora of colour and pattern and knee-high leather boots. It’s easy to give yourself over to momentary wants and “needs” and lose sight of the bigger picture, but unfortunately, the picture is this – the fashion industry is the second largest polluter in the world, just behind the oil industry. Behind your fast fashion and affordable clothing, there is a true cost. For example, according to WFF, it takes 2,700 litres of water to make just one cotton t-shirt. Think about that – one of those flimsy, pathetic shirts, printed with something like “YOLO till I die” cost the world 2,700 litres of water. If you thought that seemed bad, Ecouterre says not only are we buying 60% more clothing but also we are keeping those items for about half as long as we used to. In fact, ABC’S War on Waste confirmed: “Australians are currently disposing of 6,000 kilograms of fashion and textile waste every ten minutes.” That is why, as the fashion industry takes its colossal toll on the environment, it is more important than ever to shop sustainably and ethically.

These terms may seem like words that people throw around in order to seem important and chic, however they umbrella many aspects of the fashion industry that help create a very important transparency between retailer, consumer and the people who actually make our clothes.“ Ethical fashion represents an approach to the design, sourcing and manufacture of clothing which maximises benefits to people and communities while minimising the impact on the environment” the Ethical Fashion Forum says. It’s a “do no harm” approach to creating clothing – one that aims to counter fast fashion consumption, defend workers rights and livelihoods, address chemical use in production, minimise water use and energy consumption and so much more.

Sustainable fashion ties into the ethical. Sustainable fashion uses environmentally sustainable fibres like bamboo, hemp and organic cotton. Natural dyes are used instead of chemicals and water consumption through the process is greatly monitored. Workers are given safe, clean working environments and there is a real openness between consumer and company – from design to production, distribution and consumption. It’s time to get rid of our throw-away mentality and take a look at the steps we can make on a personal level to help stop this vicious fast-fashion cycle. By shopping sustainably, for quality over quantity we can wear our clothes for longer. We know that we’re supporting the good stuff, and in some way helping the world. We can repair, restyle and rework garments, without giving up on them first. Shop second-hand, shop small businesses, shop in the depths of our best friends wardrobe – whatever you do, look at the label, and try best to shop ethically and sustainably.

Essay on Indigenous Fashion in India

Indigenous (or native) fashion by the name says clothing, fashion and accessories that belong to a particular region or country or are native to a specific culture. Back in the days, native clothing was in fact connected to the people of North America and that’s where the term even originated. Native American clothing is a vital part of American culture and history. Weaving, beading, and detailed work such as feathering played an integral part in Native American clothing. Native American clothing was a main factor in cultural and religious ceremonies. Intricate beadwork and feathered headdresses were also commonly worn during ceremonial displays.

Be it the Americans, African Americans or the tribal Indians, Indigenous fashion was more than just fashion to them. It represented their culture and heritage, more than anything. Indigenous designers frequently incorporate motifs and customary materials into their wearable artworks, providing a basis for creating items for the haute couture and international fashion markets. Their designs may result from techniques such as beadwork, quillwork, leather, and textile arts, such as weaving, twining, and tufting. In some cases, however, they choose not to include any materials associated with indigenous cultures.

History of Indigenous Fashion

As was custom with the Native Americans, they were very resourceful with all of the materials that were available to them, and they used the skins of deer to make clothes as well as fibrous materials. Beads and wampum (a shell) were also frequently used to adorn tribal dress. There were many different beadwork patterns that were symbolic to each tribe.

Women were primarily the seamstresses of the tribes. They would prepare the skins that would be used to make clothing. The act of making Native American clothing wasn’t a task that the women took lightly. Many of the decorations and the objects used by the women to adorn the clothing were significant symbols of stature and power. Family relationships were also honored through the art of making Native American clothing. Women would diligently work on the clothes for loved ones, and by using objects that represented the occupations of her loved ones.

While Native peoples have always produced clothing, until the twentieth century the garments they made were for personal or ceremonial use. However, forced assimilation policies throughout the nineteenth and early twentieth centuries focused on eradicating Native American culture, including religious observance, language, and other traditional practices. Later, policies such as the 1934 Indian Reorganization Act changed the strategy for education of Native peoples, encouraging them instead to reconnect with their cultures, including the creation of traditional dress.

Indigenous Australians have also influenced modern Australian dress since first contact. From possum skin cloaks and booka kangaroo capes to shell necklaces in Tasmania, Europeans have been fascinated with Indigenous materials, skills and aesthetics. They have stolen, purchased, borrowed and worn them for more than 200 years. In turn, Indigenous Australians have at times enjoyed wearing soldiers’ red jackets as battle spoils and possibly mocked the Europeans by wearing their top hats cockily in the early streets of Sydney. Traditional dress practices, along with ceremony, language and music-making, were often banned by the colonisers. Missionaries often taught western-style leatherwork to men and needlecraft to women – yet powerful hybrids of self-determined dress also emerged, expressing subversive gestures and quiet resistance.

India’s Indigenous Fashion History and Descendance

It is estimated that the Indian handloom and weaving industries employ over 5 million weavers and allied workers. Woven textiles and handlooms make up around 15% of the cloth market and 95% of the world’s hand-woven fabrics come from India. These government statistics don’t even take into account the highly unorganised embroidery industry that is almost completely run in non-descript locations all over the country. Small workshops that are mostly dilapidated structures with little to no electricity and no basic amenities. It’s easy for the word ‘sweat shops’ to immediately come to mind. The establishments are operated by well-meaning but uneducated owners who are struggling themselves to make ends meet after paying for their overheads. Resulting in no official record of their businesses and most dealings happening in cash to save on taxes.

Why are telling you all this? Mostly because these people make up the meaning of indigenous fashion in today’s day and age. India’s fashion industry is at such a stage where the very people who are redefining the handloom industry of today are the only ones who’re changing the landscape of fashion and in a good way!

Clothing in India changes depending on the different ethnicity, geography, climate, and cultural traditions of the people of each region of India. Historically, male and female clothing has evolved from simple garments like kaupina, langota, dhoti, lungi, sari, gamcha, and loincloths to cover the body into elaborate costumes not only used in daily wear, but also on festive occasions, as well as rituals and dance performances. In urban areas, western clothing is common and uniformly worn by people of all social levels. India also has a great diversity in terms of weaves, fibers, colours, and material of clothing. Sometimes, color codes are followed in clothing based on the religion and ritual concerned. The clothing in India also encompasses the wide variety of Indian embroidery, prints, handwork, embellishment, styles of wearing cloths. A wide mix of Indian traditional clothing and western styles can be seen as of today in our country.

Regional Indigenous Indian Fashion

In India, women’s clothing varies widely and is closely associated with the local culture, religion and climate. Traditional Indian clothing for women in the north and east are saris worn with choli tops; a long skirt called a lehenga or pavada worn with choli and a dupatta scarf to create an ensemble called a gagra choli; or salwar kameez suits, while many south Indian women traditionally wear sari and children wear pattu langa. Saris made out of silk are considered the most elegant. The traditional style of clothing in India varies with male or female distinctions. This is still followed in the rural areas, though is changing in the urban areas. Be it clothing, accessories, shoes, etc. they use several techniques of surface ornamentation like embroidery, weaving, beading, printing, dyeing, and many more that enhance the beauty of any product.

One such indigenous example of a brand infusing modern techniques with age-old classic virtues, Pretty Peach by Dr. Rohini who runs a handcrafted footwear, clothing and accessories online shop. Despite being a practicing otolaryngologist, head and neck surgeon, skull base surgeon, she founded Doodle Rage and Pretty Peach, both being brands launched by her in September 2019. They provide a wide range of products from keeping Indian heritage alive with their exclusive juttis with a modern twist to strappy sandals and modern clothing. Juttis (resembles the modern-day ballet flats) was first used by Indian royalty in the 16th century. Women fought battles wearing juttis, that’s how comfortable they are. At Pretty Peach, they bring you a modern twist to traditional juttis with modern, fun designs ensuring they go with every outfit (Indian and western) and occasion. Along with juttis, they also house a wide range of shoes, heels and other ranges as well. They also carry dresses, skirts, tops, pants, jackets along with handcrafted bags, clutches, jewellery that depict indigenous fashion with a modern twist.

Conclusion

After much experimentation and with help from local governments, most Indian designers have worked out that the key to making India’s indigenous sectors not only sustainable but also profitable is reinvention. Modern Indian men and women don’t want to dress like their parents and grandparents, but they don’t want to completely isolate their Indian ethnicity either. This is evident from the past decade when there has been a sudden resurgence towards being and wearing Indian albeit with a modern twist. It might seem like this was just a random change in trends but in reality, India’s stalwart fashion designers have been working hard behind molding this mind-set with their conscious and continuous efforts.

Operation Strategies Standing behind Success of Zara Fashion Brand

Fashion Retail in industry Canada profile provides excellent qualitative and quantitative summary information including market size (value 2013-17, and forecast to 2022). The profile also contains descriptions of the leading players including key financial metrics and analysis of competitive brands within the market. Crucial resources for data and analysis covering the Canada fashion retail market that includes market size and segmentation data, textual and graphical analysis of market growth trends, leading companies and macroeconomic information.

The attire retail showcase incorporates infant apparel, baby garments and easygoing wear, fundamentals, formalwear, formalwear-event, and outerwear for men, ladies, young men and young ladies; avoids sports-explicit garments. The Canadian clothing retail industry had complete incomes of $22.6 bn in 2017, speaking to a compound yearly development rate (CAGR) of 3.2% somewhere in the range of 2013 and 2017. The women’s wear section was the business’ generally worthwhile in 2017, with all out incomes of $12.5 bn, proportionate to 55.2% of the business’ general worth. Later on, center estimated attire retail organizations are probably going to battle as the scene turns out to be progressively serious and buyers show an inclination for things which are high caliber however lower in cost.

Scope:

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Role Product/brand: ZARA

What are the operations strategies of Zara and how these strategies are being managed effectively to make Zara a successful Brand?

Operations Management

Operations management is in regard to all operations within the organization responsible for creating goods and services that organizations pass to their customers. This includes:

• Managing Purchases
• Inventory control
• Quality control
• Storage
• Logistics and supply chain

Zara’s philosophy goes by “Give customers what they want and get it to them faster than anyone else.” To achieve this goal, Zara has developed certain operational strategies. We will be discussing about Zara’s Operations Strategy and how Zara has implemented these strategies to become world’s leading apparel company and made its founder, Amancio Ortego, the world’s second wealthiest person.

Operations Strategy

Zara employs more than 20000 people, distributed across 23 factories around La Coruna, Spain. Ortego believes in short lived fashion trends that require speedy designs and decision. Hence, Zara makes millions of its most time-and fashion –sensitive products in its own factories on its own schedule based on its own market data that are then fed into its own logistic system to quickly deliver them into its own storefronts.

• Order Qualifying Attributes of Zara : Trendy clothes with a better quality fabrics
• Order Winning Attributes of Zara : It is often said “Zara is Armani at moderate prices”, or “Banana Republic priced like Old Navy”

We will discuss about certain operational excellence performance measurements of Zara in terms of quality, cost, delivery and flexibility.

Forecasting

Zara introduces 10,000 new designs every year to a network over 1925 stores in more than 86 countries. The vast global network makes demand forecasting a challenge for Zara. They seek out to study the effects from seasonality, product life-cycle and cannibalization into a long term aggregate demand forecast.

For seasonality they study

1. Macro patterns, which are the year to year sales patterns that remain fairly consistent, such as rising sales in spring
2. Specific Events, which refers to events that have an impact on demand but shifts dates from one year to the next, such as Christmas or Diwali.

These two factors are used to forecast short and long term store demand by using regression that leverages historical demand. Majority of the sales are experienced in the first few weeks in the store and due to this when forecasting demand for replenishment purposes, it is crucial to understand: “How long the item has been in the store?”, and “How many new items are being displayed for the first time at the store on the week in question?”

Product Design

Designers send their design suggestions to factory and to distribution department by scanning a design into a computer and electronically transmit to factory computers including computers controlled cutting equipment. How do they do it?

• Zara’s designers gather information from store managers, internet, films and industry publications. Designers sift the data, quickly converting the latest look into affordable, hot fashion for the masses. It often translates a fashion trend in as little as two weeks whereas its competitors take months to do the same. It does not adapt products to a particular country’s preferences, but looks to standardize its designs for the global market.
• Designers input the designs patterns into CAD systems which automatically feed into the cutting machines in the factories ensuring the required quality of outputs and having a minimum fabrics waste.
• Zara has always been using the technology in its manufacturing plants, in the areas where there is a requirement of simplifying the complex processes.
• Zara rejects the idea of conventional spring and fall clothing collections in favor of “live collections”.

Design For Environment

Zara is also one of the rare clothing brands, which produces 100% toxic free clothing. Within the product they use:

• Ecological fabrics
• Organic cotton
• Manufacture PVC free footwear
• It is also been awarded with LEED (Leadership in Energy and Environmental Design)

Process Analysis

Zara works with the concept of offering a variety of latest trend of good quality in small quantity for a shorter period of time at lower prices, which instigates the customers to purchase what they like right away without waiting for any sort of sales. It has attained the main objective of ensuring timely delivery of products to end user at affordable prices and complete customer satisfaction. Zara applies technology in areas that speed up complex tasks, lower cycle time and reduce error. Zara stores managers carry handheld Casio computers to send online information to headquarters like selling trends, customers comments, or placing orders.

Make To Order

The firm therefore avoids building inventories in any part of its supply chain from raw materials to end user. Inventory optimization models are in place to help the firm determine how many of which items in which sizes should be delivered to stores during the twice a week shipment ensuring sores stock just what they want.

Productivity/efficiency

Zara designs around 10,000 new models every year and replenishes ranges within every one of its 650 retail stores twice per week, but in strictly limited quantities of stock. This ensures Zara’s brand promise to customers of exclusivity, and also of design freshness. It also avoids build-up of large quantities of unpopular stock.

Flexibility

Zara has a quick turnaround on fashion trends many items we see in store will not exist in next few weeks. Zara aggressively prices its products and adjusts pricing for the international market, making customers in foreign markets bear the costs of shipping products from Spain. If the product line fails to excite customers, Zara can scrap an entire production line if it is not selling. Also, they can dye collection in in new colors. Can create new fashion line in days. Even though it manufactures products as per market’s daily changing trends, it has developed a system by which it has a low manufacturing cost enabling it to provide great latest designs at lower prices to the customers.

Assembling

Assembly of different components is done at the headquarters of Zara in Spain; it has outrightly rejected the concept of cheap outsourcing. Zara has slashed the cycle time to a phenomenal two weeks. It continues to beat the competitors by introducing new designs into the stores within a week or two. While it takes a cycle of six months for other fashion brands to penetrate new designs into the market. They want customers to understand that they must buy it now because it won’t be in the shops following week. They create a climate of scarcity and opportunity. Zara undergoes Flow method in its process selection. Zara voluntarily keeps up to 85%of its plants idle in order to optimize the response to demand changes all around the world.

Facility Decision And Facility Layout

Zara presents a drastically different approach than its competitors. Instead of outsourcing its production in Asia or Eastern Europe, it decided to manufacture its products in Galicia. While lower cost production could be achieved in other regions, the faster time to market, reduced transportation costs and low exposure to changing tariffs and politics outweigh that one factor. Their Headquarter is situated in Spain, which give it a prime location for Zara to operate. They invest in prime locations. They place great care in the presentation of our storefronts. This is how they project their image. Zara’s stores command high profile slots in premier shopping venues. Its location strategy has created interesting tensions. Attractive stores both inside and out, are vital to Zara’s mystique. They want their customers to enter a beautiful store where they are offered the latest fashions. Retail specialists roam the globe, adjusting window displays, testing store ambience and rethinking presentation schemes. Their layouts are always changing.

Supply Chain Management

It has developed a fast shipment system that satisfies the existing needs. The key to Zara’s ability to establish an agile supply chain results on the following unique approaches:

• Procurement methodology: Zara‘s procurement team works on the quantity of raw materials needed to manufacture the clothes. This helps reduce waste, as they re-use fabric but not resell a piece of clothing that didn’t meet the expectation.
• Proximity of supply: Suppliers are all close to Zara factories and collaborate tightly, so Zara can order on and everyday need basis.
• Production feedback: Every day, store managers can give customer feedback to the market specialist, who then pass the information along to production and design teams. This rapid feedback loop enables a quick and agile response to the market.

Manufacturing

Zara makes millions of its most time and fashion sensitive products in its own state of the art factories on its own schedule based on its own market data that are then fed into its own logistic system to quickly deliver them to its storefronts.

The story begins in the heart of Zara’s headquarters, where its 300 person design team is leafing through trend-forecasting books and putting together mood boards for the store’s next collection. Once a design is created, it is taken to a team of pattern cutters just meters away, who put together the first prototypes. Once the prototype has been signed off, on a digitized pattern is sent to one of its factories.

The first step of the process is to set the patterns to the fabric. The pattern layout is then sent to a machine that prints a life-size copy, using the relevant information about what part of the garment each piece is. The fabric is laid out under large cutting machines, and the paper is placed on top. Both materials are held in place with a tight plastic sheet. The machine slices through the material, cutting out the individual pieces of fabric. Once they have been cut, the paper and fabric pieces are boxed up together. The paper has all the details for the factory workers to see where these pieces need to be sent next, and which part of the garment they will make. These pieces are sent to external factories to be sewn together, along with a prototype of the item so that the factories can copy the exact design. Once the item is sewn together, it returns to Zara’s headquarters. After quality check , boxes are with newly together clothing are unpacked from trucks and immediately passes through a sensor machine. The boxes are placed on a conveyor belt and stocked in groups. These can be stored for several days in the distribution center before being shipped out. The full boxes are then placed on another conveyor belt to be sent out for delivery.

Source: Mary Hanbury from Business Insider, 28 Oct, 2018

Logistics

Garments flow through Zara’s distribution center in La Coruna. In La Coruna, garments travel along 125 miles of underground rails that links its factories. Along the way, they are sorted in carousels capable of processing 45000 folded garments per hour. Zara ships more than 2.5 million items per week to its store worldwide. Custom orders reach its stores in Europe, the middle east and much of the United States in 24 hours and 48 hours for Asia and Latin America.

Inventory Management

• Zara rejects the idea of conventional spring and fall clothing collections in favor of “live collections” that are designed, manufactured and sold almost as quickly as customer’s fleeting tastes-no style lasts more than four weeks. Hence, just as their layouts their look of the inventory mix also keeps changing.
• Highly deals in just- in- time inventory process.
• Zara reaps the benefits of very efficient inventory management models that help them determine the exact quantity of items needed for every store. They ship very small batches twice a week.
• Zara‘s procurement team works on the quantity of raw materials needed to manufacture the clothes. This helps reduce waste.

Total Quality Management

• Zara’s items and its key products are sent back to factory after it is sewn together for individual quality checks.
• Pressing machines are used to flatten out the material
• Sleeves are blasted with hot air to shape the fabric and stretch the stitching
• Each item is individually ironed
• The clothing is then checked piece by piece to ensure there are no faulty stitches. Items that pass the checks are given a security tag
• If any issues are spotted in this process, the clothing is put to one side and any small faults are fixed on sewing machines.

SOURCE: Mary Hanbury from Business Insider, 28 Oct, 2020

Sustainable Operations Management

Zara is recognized as one of the most eco-friendly companies. It’s headquarter is in Spain, and is known for using solar panels and wind turbines. Zara at all it’s stores

• Save energy
• Have eco-friendly shops
• Produce less waste and recycle

Their commitment extends to all staff, they have an environmentally aware team for distribution channels. The transportation of finished goods (from the point of production to point of sale) it is termed as environmentally friendly. In transportation, they use bio-diesel.

Analysis

The only marketing tactic ever being used by Zara is displaying. Zara spends just 0.3% of sales on advertising, compared with 3-4 percent for most fashion retailers. Hence, there is no doubt, in the absence of marketing strategy it is the Operation Strategy and its efficient management that is responsible behind Zara’s success story.

It reflects that a company can still thrive without a handsome marketing budget but not without an efficient operational strategy being efficiently managed at a right place and at a right time.

Conclusion:

Zara makes millions of its most time and fashion sensitive products in its own state of the art factories on its own schedule based on its own market data that are then fed into its own logistic system to quickly deliver them to its storefronts. This includes:

• Managing Purchases
• Inventory control
• Quality control
• Storage
• Logistics and supply chain

Zara’s philosophy goes by “Give customers what they want and get it to them faster than anyone else”. To achieve this goal, Zara has developed certain operational strategies.

Hence, Zara makes millions of its most time-and fashion – sensitive products in its own factories on its own schedule based on its own market data that are then fed into its own logistic system to quickly deliver them into its own storefronts. Highly deals in just-in-time inventory process Zara reaps the benefits of very efficient inventory management models that help them determine the exact quantity of items needed for every store.