История моды. С 1850-х годов до наших дней - Дэниел Коул История моды в деталях

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этим переменам. Лаконичная графика Лепапа, смелые узоры Виммера-Висгрилла и непринужденные модели Шанель стали примерами новоявленного стиля.

      Французский солдат вернулся с войны. Дети рады приветствовать его переход к гражданской одежде. «Возвращение солдата» А. Е. Марти из Les Modes et Manières d’Aujourd’hui, 1919 год.

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      Примечания

      1

      Norman Lebrecht, Who Killed Classical Music?: Maestros, Managers, and Corporate Politics (New York: Citadel Press, 1997), p. 40.

      2

      «Dress Improvers Downed», The Daily Telegraph (November 2, 1888), p. 2.

      3

      Princess Pauline Metternich, My Years in Paris (London: Eveleigh Nash & Grayson, 1922), p. 58.

      4

      Sara Elisabeth Hume, «Charles Frederick Worth: A Study in the Relationship between the Parisian Fashion Industry and the Lyonnais Silk Industry 1858–1889.» Unpublished Master of Arts thesis (SUNY Fashion Institute of Technology, 2003), p. 10.

      5

      «Empress Elizabeth [sic], Her Tragic Death Last Summer – New Light on Her Life», The New York Times (March 18, 1899), p. 23.

      6

      «Many Women in Mourning – Closing of Mr. Felix’s Dress-Making Establishment the Cause», The Pittsburgh Press (June 30, 1901), p. 15.

      7

      Exhibition signage, Reveal or Conceal?/ Dévoiler ou Dissimuler? (Montreal: McCord Museum/Musee McCord, February 22, 2008–January 18, 2009). See also www.musee-mccord.qc.ca/expositions/expositionsXSL.php?lang=1&expoId=47&currSectionId=2

      8

      Elizabeth Ann Coleman, The Opulent Era: Fashions of Worth, Doucet and Pingat (New York and London: Brooklyn Museum with Thames & Hudson, 1989), p. 29.

      9

      Standard Designer (November 1896), p. 78.

      10

      Lourdes Font, «International couture: The opportunities and challenges of expansion, 1880–1920», Business History 54:1 (2012), p. 31.

      11

      Coleman, p. 146.

      12

      Sandra Barwick, A Century of Style (London: George Allen & Unwin, 1984), p. 53.

      13

      Frederic Lees, «The Evolution of Paris Fashions: An Inquiry», The Pall Mall Magazine, vol. XXVII (May-August 1902), p. 116.

      14

      Font, p. 31.

      15

      Robert Forrest Wilson, «The House of Drecoll», Vogue (November 15, 1925), p. 34.

      16

      Paul Poiret, King of Fashion: The Autobiography of Paul Poiret, transl. by Stephen Haden Guest (Philadelphia & London: J.B. Lippincott Company, 1931), p. 93.

      17

      Font, pp. 35–36.

      18

      Ella Adelia Fletcher, The Woman Beautiful: A Practical Treatise on the Development and Preservation of Woman’s Health and Beauty, and the Principles of Taste in Dress (New York: Brentano’s, 1901), p. 410.

      19

      «Worth Allows Styles of the Days of Empress Eugenie to Suggest Leading Silhouette and Control Richness of Fabrics Used», The New York Times (March 19, 1916), p. X3.

      20

      Lady Duff Gordon, Discretions and Indiscretions (New York: Frederick A. Stokes Company, 1932), p. 205.

      21

      Lees, p. 121.

      22

      «Cheruit Features the Full Skirt, hich, It Is Prophesied, Will Be as Successful as Was the Pannier Skirt», The New York Times (March 15, 1914), p. X2.

      23

      Guillermo De Osma, Mariano Fortuny: His Life and Work (New York: Rizzoli, 1980), p. 138.

      24

      Quoted in Stephen Howarth, Henry Poole: Founders of Savile Row (London: Bene Factum Publishing, 2003), p. 90.

      25

      Major Gen. Sir Frederick Maurice, «Contrasts Signing with 1870 Ceremony», The New York Times (June 29, 1919), p. 3.

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