Sportswear is an American fashion term originally used to describe separations, but which, since the 1930s, has been applied to the day and night fashions of varying degrees of formality that suggest a specific relaxed approach to their design, yet suitable for social occasions. The term is not necessarily synonymous with activewear, a clothing designed specifically for participants in sporting activities. Although sportswear is available from European haute couture homes and "sporty" clothes that are increasingly used as everyday or unofficial clothing, early American sports clothing designers are associated with ready-made manufacturers. While most of the modes in America in the early 20th century were directly copied from, or heavily influenced by Paris, American sportswear became a home-grown exclusion for this rule, and could be described as American Look . Sportswear is designed to be easy to maintain, with accessible buttons that allow emancipated modern women to dress themselves without helpers.
Video Sportswear (fashion)
Definisi
Sportswear has been referred to as America's major contribution to the history of fashion design, which was developed to meet the lifestyle needs of American women who are accelerating. It began as a fashion industry term that describes informal and interchangeable breaks (ie, blouses, shirts, skirts and shorts), and in 1920 became a popular word for casual and casual wear that is usually worn for spectator sports. Since the 1930s this term has been used to describe the day and night modes of varying degrees of formality that show this casual approach but still to use the right one for many business or social events.
Curator Richard Martin wore an exhibition about the sportswear in 1985 at Fashion Institute of Technology, where he described the sportswear as "an American invention, an American industry, and an American-style expression." For Martin, American sport is an expression of various aspects of the middle class of American culture, including the ideals of health, the concept of democracy, the ideas of comfort and function, and the innovative design that may refer to historical concepts or recreational attributes. The formation of an eight-day workweek and an eight-hour workday in America in the mid-20th century led to the need for clothing that allowed the full enjoyment of the increase in leisure time, and was designed accordingly. The next exhibition of the 1930s 70s sport, also curated by Martin, at the Metropolitan Museum of Art in 1998, was introduced by Philippe de Montebello as a show of pioneering clothing, whose simplicity, comparative simplicity, and wearability treated fashion as "pragmatic art. "de Montebello carefully explains how significant American designers such as Norman Norell, Pauline TrigÃÆ'¨re, Charles James and Mainbocher, are not regarded as designers of sportswear, as they are not dedicated to the design principles of versatility, accessibility, and affordability in the way Claire McCardell or Emily Wilkens.
The "American Look," which is an alternative term for American sportswear, was created in 1932 by Lord & amp; Taylor's executive, Dorothy Shaver.
Maps Sportswear (fashion)
History of sportswear design
Pre-1920
Sportswear originally described the activewear - a suit made especially for sports. Part of the evolution of sportswear was sparked by the development of the 19th century in women's sports, such as early bathing suits or cycling costumes, demanding short skirts, pats, and other special clothing to allow mobility, while sports such as tennis or croquet can be played. in conventional clothing that is barely modified. One of the first couturiers specializing in sportswear is John Redfern of England who in the 1870s began designing customized clothing for the more active women who ride horses, play tennis, do yachting, and do archery. Redfern's outfit, though intended for a particular sporting purpose, was adopted as a daily outfit by his client, making him perhaps the first sports designer. Also at the end of the nineteenth century, clothing associated with activewear and/or modified men's clothing, such as shirt shirts began to form part of the wardrobe of working women. Before 1920, men and women could show that they were relaxed simply by removing a jacket, either in the case of a man's outfit, or metaphorically by a woman wearing a shirt that resembled a male shirt worn without a jacket.
Martin has observed that in America, before increasing the freedom of the workers from the mid-19th century onwards, leisure has become a luxury only available to the hasty classes during the Industrial Revolution (c.1760-1860), and before that , Puritan America has condemned spare time for all. He quotes a painting of 1884 Georges Seurat One Sunday afternoon on La Grande Jatte Island as an "immobile," static and storied "recreation in the" direct antithesis "of casual, casual American equivalent." TJ Clarke notes how < i> La Grande Jatte illustrates people from the vastness of Parisians taking advantage of their free time by going to the riverbank to show off new clothes, but it is the act of removing one's jacket or loosening other clothes as a real marker in time spare is almost never done.
1920s
While 1920 Paris designers offer a haute couture design that can be considered a sport, it's usually not their design focus. The notable exception is the tennis player Jane Rà © gà © (pseudonym Madame Balouzet Tillard de Tigny), who opened a couture house specializing in clothes for sports and travel. Another famous tennis player, Suzanne Lenglen, is director of the sports department at Jean Patou. In contrast to the flexibility of American sports, these expensive couture outfits are usually prescribed for very specific circumstances. Many couturier start designing clothes which, while suitable for sport, can be used in a wider context. Coco Chanel, who promotes her active and financially independent lifestyle through loose t-shirts and a neat dress, became famous for "sports-type outfits." In 1926 Harper's Bazaar reported Chanel's sporty outfit, noting the absence of an equivalent outfit from a New York fashion presentation. However, Martin has noted that while Chanel is undeniably important and influential, his work is always based on couture construction rather than the easy nature of wearing American sportswear.
Because more commonly, versatile sports are becoming more prominent in the Paris collection, the press increasingly promotes the use of such clothing in everyday contexts. In the mid-1920s, American advertisers also began actively pushing the idea that sporty clothing is just as common for everyday casual wear as it is for active activity, presenting it as a symbol of American modernity and ideals. One ad issued by Abercrombie & amp; Fitch in Vogue in 1929 suggested that while men might admire a girl in a glamorous evening dress, they would be less intimidated by her friendly and welcoming appearance in good quality sportswear. Sportswear is also presented as an accessible version of resort clothing, a term for luxury traveling wear and holiday wear worn by those who can live a relaxed lifestyle with several vacations, such as cruises, yachts and skis. Affordable and well-designed American sports are presented as a way to enable less wealthy customers to feel part of the same lifestyle. However, at first, American clothing companies mostly imitate the French style.
Despite receiving fashionable sportswear as a form of casual wear in French fashion in 1920, the American garment industry later became the most prominent apparel manufacturer. The main difference between French and American sportswear is that French sportswear is usually a small part of the output of high-end designers, while American sportswear designers focus on affordable, versatile, easy-to-maintain clothing that can be mass-produced and relevant to customer lifestyles , enabling modern women who are increasingly emancipating to dress themselves without the help of helpers. Despite European influences, especially the high fashion of Paris and English suturing, it is always significant, the Great Depression that began in 1929 acted as a trigger to encourage American fashion to focus on homegrown style and design - especially sportswear. With 13 million Americans leaving unemployment by the Depression, it is necessary to create jobs and reduce competition from imported goods to improve the American economy. At the same time, female athletic growth and increased employment of women encourage the need for simpler and less expensive clothing.
1930-1945
A true sporting contestor appeared in New York before the Second World War. Clare Potter and Claire McCardell were among the first American designers of the 1930s to gain name recognition through their innovative clothing design, which Martin described as demonstrating "problem solving abilities and realistic lifestyle applications". Garments are designed to be easy to wear and comfortable, using practical fabrics like denim, cotton, and jersey. McCardell has been specifically described as the greatest sportswear designer in America. His simple and practical outfit conformed to the casual, casual dress code of America, both formal and informal, established during the 1930s and 1940s. McCardell once stated: "I belong to a mass-production country where all of us, all of us, deserve a good outfit." Martin credits his 1930s and 40s designer sportswear by liberating American fashion from the need to copy Parisian couture. When Parisian fashion has traditionally been imposed on customers regardless of their wishes, American sportswear is democratic, widely available, and encourages self-expression. The early sports clothing designers proved that the creation of the original ready-made clothing can be a legitimate design art that responds with style to meet utilitarian needs.
Many of the first sportswear designers were women, including McCardell, Potter, Elizabeth Hawes, Emily Wilkens, Tina Leser, and Vera Maxwell. A common argument is that women designers project their personal values ​​into this new style. One of the few male designers today is Tom Brigance, who in the late 1930s regularly ranked in Potter as the leading name in the price range of the sport. Like Potter, Brigance understands how to design smart and fashionable clothing for mass production, which makes his outfits attractive to manufacturers and customers alike. Two other famous men's clothing designers today are Sydney Wragge and John Weitz.
In the 1930s and 40s, rarely was the clothing justified through its practicality. It traditionally thinks that Parisian fashion exemplifies beauty, and therefore, sports different criteria are required for judgment. The designer's personal life is therefore related to the design of their sportswear. Another selling point is the popularity of sports with consumers, with department store representatives like Dorothy Shaver of Lord & amp; Taylor uses sales figures to support their claims. Maxwell and Potter were two of the first three sportswear designers, along with Helen Cookman, on display and named on Shaver window displays and advertisements for Lord & amp; Taylor. Between 1932 and 1939, Shaver's program "American Look" at Lord & amp; Taylor promoted over sixty American designers including McCardell, Potter and Merry Hull. Shaver advertises his American designers as if they were French couturiers, and promotes their lower costs as a positive feature, rather than a mark of inferiority. One of Shaver's retail experiments was part of the 'College Store' in the store, opened in the early 1930s and run by his assistant, Helen Maddock, with the intent of offering casual but flattering outfits to young female students. However, the stock eventually sold quickly to adult women as well as to students.
Among the key designs generated by this new generation of American designers are capsule cabinets such as the five-piece woolen McCardell jersey from 1934, consisting of two tops, a long and short skirt, and a pair of culottes; and Maxwell's "weekend cabinets" of five wool and flannel outfits. Both are designed to accommodate formal and informal occasions depending on how they are collected and accessed. McCardell also became famous for designs such as Monastic and Popover dresses that are versatile enough to work in a variety of contexts from swimwear to party dresses. Other McCardell signatures include ballet slippers (made by Ben Sommers of Capezio) as daily footwear and functional pockets with skirts and trousers. Stylish dress made of casual fabrics, such as McCardell and Joset Walker evening dresses and cotton dress-and-coat ensembles, became the main sportswear. American forecaster Norman Norell stated that McCardell could make a smart dress to wear anywhere from the "five-dollar general calico cotton". Other sports clothing designs often include informal sporty elements or casual wear, as exemplified by Clare Potter night sweater worn with long skirts wrapped up like saddle habits.
With Dorothy Shaver, Eleanor Lambert is an important promoter of American Look and sport. As the founder of the American Fashion Designers Council and creator of New York Fashion Week, Lambert is considered the first fashion publisher. In the summer of 1940, Lambert was employed by the Dress Institute to promote American fashion, leading to newspaper articles and magazines on how New York replaced Paris as a global fashion leader. In 1940, both Harper's Bazaar and Vogue published issues devoted to American fashion.
Rebecca Arnold and Emily S. Rosenberg have noted how the American appearance, shown through healthy teeth and the use of high-quality, affordable and quality clothing to present a neat and practical appearance, despite the claims of egalitarianism, is ultimately confronted with a white standard of beauty. Rosenberg has shown six pages spread on LIFE dated May 21, 1945, which explicitly describes girls with an athletic 'athletic appearance' of good teeth, good care, and good, not very masculine. simple and neat clothes, as it is considered to be favored by girls from England, France, Australia or Polynesia.
1946-1970
After the Second World War, the emergence in the luxurious "New Look" Paris popularized by Christian Dior, with its emphasis on access and femininity, is in stark contrast to the relaxed, easy-to-see American interface. Sally Kirkland, a fashion editor at Vogue and LIFE, notes that McCardell and others have been thinking along the longer lines and fuller skirts and the right corset, but it's not like Dior designs are very stiff and shorted, they use bias and lightweight pieces, easy to use circles or pleated skirts to reproduce the same silhouette. Unlike the traditional French couture fashion modes designed specifically for a particular silhouette, American sportswear is designed to accommodate different body shapes and allow freedom of movement. With the lifting of fabric rationing and restrictions after the War, American designers were able to use unlimited fabrics and the development of permanent folds meant that full pleated gowns and skirts were easy to maintain. In addition, American stores began to recognize the commercial value of the breakup, with reporting LIFE in 1949 that separates 30% of clothing sales in the United States that fall all the time..
In the 1950s and 1960s, designers continued to develop affordable, practical, and innovative sports themes, producing clothes that focused on wear lifetimes rather than fashion, including an Anne Fogarty suit and dress made with removable vests to transform their appearance.. Costume designer Bonnie Cashin, who began producing ready-made clothing in 1949, is considered one of America's most influential sports designers. He is known for his highly practical plated ensemble inspired by ethnographic and textile clothing such as Japanese kimono and southern China's happi, ikat, and poncho. The design uses leather bindings, pockets with clasp wallets, hooded shirts and tops, as well as zippers and industrial belts. He installed a brass clip similar to that used on a dog leash, with a long formal skirt so that it could be securely attached to allow the wearer to run up and down the stairs, and his ponchoes and veils (which could be rolled to form elegant cowl-collars) were originally designed for driving on a cold morning. Cashin became one of the first American designers to have an international reputation. Along with Cashin, Rudi Gernreich emerged in the 1950s as a key name in sportswear design, first known for his swimsuits, but later developed into geometric pieces, graphic clothing and knitwear that Kirkland describes as the "new California" emblem.
Together with many other designers, Gernreich took advantage of the development in the mid-1950s an improved machine knitting technique to produce his work. Double knitting (developed in Italy) allows the mass production of convenient knit clothing, coats and dresses that retain its shape and become a major American display in the 1960s and 70s. Another knitting development involving lines from classic T-shirts can be extended into long versions of shirts, long or short sleeves, and other variations, including, in 1960, long night versions repeated by Kasper for Arnold & Fox. In the 1960s, American sportswear depended on a very simple form, often made in bright and bold colors, geometric prints (as by Gernreich and Donald Brooks).
By the late 1960s, many sportswear designers such as Anne Klein and Halston began entering the business independently, rather than relying on their manufacturer's support, or working with companies and companies.
1970-2000
In a 1974 essay titled "Recession Dressing," author Kennedy Fraser notes how Halston's work, especially his success by making basic clothing in fancy fabrics, is that of "anti-designers" that liberate fashion American women from unnecessarily intricate, conventional high fashion from American designer high-end designers. He also chose Clovis Ruffin and Stephen Burrows. With Calvin Klein, Jhane Barnes, and Ralph Lauren, Martin describes Halston, Ruffin and Burrows as "paragable" in the 1970s and early 1980s Seventh Avenue sporting styles.
During the 1970s, Lauren, Calvin Klein and Perry Ellis became famous for their sportswear design, made from natural fibers such as wool, combed cotton, and linen, which placed them at the top of American fashion designs along with Anne Klein labels (designed by Donna Karan and Louis Dell'Olio). Newsweek in 1975 described Calvin Klein as a clean, casual fashion model with the authority of a couture designer, and in 1985, Martin described it as "one of America's stylistics" with a solid international reputation. and world-wide influences entirely based on his expertise as a designer of sportswear. The industrial empire of Lauren and Calvin Klein will join in the mid-1980s by the label names Donna Karan and Tommy Hilfiger, each of which creates a special wardrobe for American women based on versatile but comfortable, comfortable and exchangable clothing that combines practicality with luxury. These outfits are also designed to have a long, stylish and undated life, rather than just being a fashion for one season. In 1976, the Zoran designer unleashed the first of a collection of very simple clothing made of finest quality fabric; a garment that has barely changed over the years and become a cult object for its rich clients. In 1993, fashion journalist Suzy Menkes stated that Zoran was less passionate about the modernist trend of the early 1990s, while Zoran stated that Calvin Klein's work, Karan, and Anne Klein's label symbolize "comfort, simplicity, and practicality". "With regard to sports, most of the early-twentieth-century sports designs follow in the footsteps of these designers.Another famous sportswear designer in the late twentieth century, including Norma Kamali, whose 1980s t-shirts were very influential, Marc Jacobs, whose eponymous label is famous for layered informality in day and night clothes was founded in 1986, and Isaac Mizrahi, who presented his first collection in 1987.
In the 1970s Geoffrey Beene, one of the first significant male sports designers, incorporated casual layering and men's clothing elements into women's clothing - a detail that continues to influence 21st century industrial designers. In 1970, Bill Blass, who started his fashion career in 1946, founded his own company, Bill Blass Limited. The wearable blass design is designed for day and night wear and he is said to have lifted American sportswear to the highest possible level. Like Beene, he introduced a touch of menswear to his sportswear, which was described as clean, modern and perfect in style. Kirkland commented in 1985 that sportswear designers such as Liz Claiborne and Joan Vass no longer "borrowed from boys," but have started making men's suits as well. In addition to the high-end names that produced large amounts of clothing, a more personal level of sport was offered in the early 1980s by smaller designers such as Mary Jane Marcasiano and Vass, specializing in hand knits with wool and cotton. In the mid-1980s, sport has become an important part of the international fashion scene, shaping most of America's contribution to the fashion presentation twice a year with top-end collections from Paris, Milan and London.
21st century sports
In 2000, Lifestyle Monitor , an American trading magazine owned by Cotton Incorporated published that their survey showed that an average of 64% of women interviewed casual attire liked, including different gym clothes from active clothing.
New York's leading sports clothing designers in the first decade of the 21st century include Zac Posen, Proenza Schouler, Mary Ping, Derek Lam, and Behnaz Sarafpour, all featured in the Sportswear section of the Victoria and Albert Museum New York Fashion Now exhibition in 2007.
Designers who usually do not work in the tradition of sportswear such as Monique Lhuillier sometimes incorporate elements of sports and sportswear into their work. Lhuillier, especially known for formal gowns, introduces a sporty neckline and aerodynamic elements into his collection for New York Fashion Week, Fall 2011.
In 2012 Tim Gunn notes that the line between sportswear and fashion sports apparel has become increasingly blurred since the 1980s, with many people choosing to wear hoodies, sportswear, yoga pants, and other clothing explicitly attributed to athletic attire as everyday wear.
Outside the United States
Italy
In the late 1940s and 1950s non-American designers began to pay attention to sports, and sought to produce collections following its principles. French Couturiers including Dior and Fath simplified their designs for ready-made production, but initially only Italian designers understood the principle of sport. Italy already has a reputation for fine fabrics and excellent workmanship, and the emergence of high quality Italian clothing that combines this luxury with the casual quality of American sport ensured the success of Italian fashion around the world in the mid-1970s. Italian designers, including Emilio Pucci and Simonetta Visconti, understand that there is a market for clothing that combines sophistication and comfort. This is a challenge for the American industry. John Fairchild, the vocal publisher of Women's Wear Daily, argues that Krizia, Missoni, and other Italian designers are "the first to make fine sportswear."
Prior to joining the business which later became Missoni with her bride Rosita in 1953, Ottavio Missoni, herself an athlete, and his teammate Giorgio Oberweger had a firing business in Trieste to make a woolen bachelor sport suit Venjulia. The success of the Venjulia suit, which takes into account the athlete's need for functional and warm clothing that allows freedom of movement, causes them to be worn by the Italian 1948 Olympic team (including Missoni himself). In the 1960s, Missoni became famous for her unique uniform colored knitwear and fit separately based on activewear, which remains desirable and fashionable until the 21st century.
The quality of Italian sport was recognized early on by Robert Goldworm, an American sports clothing designer who in 1947 joined the New York-based Goldworm family. Through its second base in Milan, Goldworm became the first American knitting designer to take advantage of Italian quality and bring it to the New York market. In 1959, Goldworm, in recognition of its active promotion and support of the Italian knitwear industry, was made Commander of the Order of the Star of Italian Solidarity by the Italian government.
In the 21st century, Italian fashion remains a major source for sportswear design outside the United States. Narciso Rodriguez, known for his sleek and ruled outfits, was launched in Milan in 1997, but moved to New York in 2001. Miuccia Prada revived the fortunes of Prada's family company with high-quality sportswear designs in the 1990s, and continues to design for the company.
United Kingdom
Successful British sportswear designers include Stella McCartney, known for his jumpsuits and weary clothes. McCartney was asked to design an athletic uniform for the 2012 Summer Olympics, bringing fashionable sports apparel designs into the world of high profile activewear.
References
External links
- Sportswear Chic on the Victoria Museum and Albert's website.
See also
- Fitness culture
- Fitness mode
Source of the article : Wikipedia
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