The European idea of fashion as a personal statement rather than a cultural expression begins in the 16th century: ten portraits of German or Italian gentlemen may show ten entirely different hats. But the local culture still set the bounds, as Albrecht Drer recorded in his actual or composite contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right).
欧洲时尚理念作为一个个人陈述,而不是一种文化表达开始于16世纪:十幅德国或者意大利绅士的肖像图,可能会展示了十顶完全不同的帽子。但是当地文化仍然是主要的内容,就像阿尔布雷希特丢勒在15世纪末时,记录他真实的和综合的对纽伦堡和威尼斯时尚的比较。
Fashions among upper-class Europeans began to move in synchronicity in the 18th century; though colors and patterns of textiles changed from year to year, (Thornton), the cut of a gentlemans coat and the length of his waistcoat, or the pattern to which a ladys dress was cut changed more slowly. Mens fashions derived from military models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the Steinkirk cravat (a necktie) (see Cravat). The pace of change picked up in the 1780s with the publication of French engravings that showed the latest Paris styles. By 1800, all Western Europeans were dressing alike: local variation became first a sign of provincial culture, and then a badge of the conservative peasant (James Laver; Fernand Braudel). Fashion in clothes has allowed wearers to express emotion or solidarity with other people for millennia.
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2016-02-29
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