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Elle and the Development of Stylisme in 1960s Paris
Transcript of Elle and the Development of Stylisme in 1960s Paris
Raymond Barbas The president of the Paris Chambre Syndicale De la Haute Couture in 1956 argued that creating trends based on color and silhouette only could only function within a bi-annual seasonal couture system (Grumbach)
Consumers relied on the creative opinion of the couturier
Public opinion of confection "just too cheap for words"(Dorsey 242)
In order to change public opinion advertisements would borrow from couture descriptives to promote Confection. Transition In term confection was eventually replaced with new terms such as semi-mesure (semi custom) and Couture en gros (Wholesale Couture)
The term Pret a Porter was first introduced in a 1949 Trade publication by French Manufacturer Jean-Claude Weill
In a 1965 issue of Jersey de Valancay Feature an advertisement that stated "Finally! Custom-Made Ready-to-Wear". The advertisement also stated if the garment did not fit, clients could order another.
In the late 1950s Pret a porter and Confection existed simultaneously. Pret a Porter Being the more luxurious output. Transition Haute Couture - Custom garments
Confection - Cheap, poor quality, R machine made, mass P produced (Green, N)
Pret-a-porter - Semi Custom Changing Philosophies
1950s Examines Elle, the French feminine lifestyle and fashion magazine, and its portrayal of ready-to-wear designers and the fashionable women over the course of the 1960s. ELLE In the 1960s Elle Pioneered a course of discussion about ready-to-wear among women's magazines.
In 1953 Elle launched a section titled "Pret-a-Porter",
The magazine also dedicated one issue per season to ready-to- wear.
They set the tone and distinguished themselves from other magazines by clearly focusing on ready to wear and not haute couture.
Elle served as a visual enforcer for stylisme.
Stylisme was new ready-to-wear model in 1960s France, in the pages of Elle magazine Conclusion Elle's format of identifying designers next to their work and listed manufacturers and retailers, reinforced the industrial structure of stylisme.
Elles mentioning of the designers also solidified them as original creators, a necessary step in legitimizing the process of stylime.
In the future understanding this ready-to-wear model could be beneficial in helping to uncover hidden stylistes, the manufactures for whom they designed and the retailers who disseminated their creations Evaluation GRADE: A (GOOD) Description of stylisme was not in paper only in abstract There was no critical assessment of the literature more of a presentation of what was written (seemed appropriate) Grammar and spelling : No errors Citation: Chicago Style Introduction: was good stated research problem but not necessarily a need for the research Methods: No dedicated section Romano, Alexis. "Elle and the Development of Stylisme in 1960s Paris." Costume 46, no. 1 (2012 2012): 75-91. Stylisme Stylisme was new ready-to-wear model in 1960s France, in the pages of Elle magazine EVALUATION 88 References Research Classification: None
I didn't think my article was inline with any of the research classifications, but the closet option would be Antiquarian because of the social context.