5. Ответьте на вопросы по тексту упражнения 4.
Who popularized rococo style?
What can you say about the silhouette in the end of the 18th century?
What happened after the French and American Revolutions?
6. Прочитайте и переведите следующую цитату:
"It pains me physically to see a woman victimized, rendered pathetic, by fashion."
7. Прочитайте, переведите текст письменно и озаглавьте его.
Figure. Robe à la française, France, block-printed cotton, c. 1770. Los Angeles County Museum of Art
The sack-back gown or robe à la française was a women's fashion of the 18th century. At the beginning of the century, the sack-back gown was a very informal style of dress. At its most informal, it was unfitted both front and back and called a sacque or contouche. By the 1770s the sack-back gown was second only to court dress in its formality. This style of gown had fabric at the back arranged in box pleats which fell loose from the shoulder to the floor with a slight train. In front, the gown was open, showing off a decorative stomacher and petticoat. It would have been worn with a wide square hoop or panniers under the petticoat. Scalloped ruffles often trimmed elbow-length sleeves, which were worn with separate frills called engage antes.
The loose box pleats which are a feature of this style are sometimes called Watteau pleats from their appearance in the paintings of Antoine Watteau. The various Watteau terms, such as Watteau pleat, Watteau back, Watteau gown etc., date from the mid19th century rather than reflecting authentic 18th century terminology, and normally describe 19th and 20th century revivals of the sack-back.
8. Прочитайте и переведите следующие цитаты:
«Мода это то, что выходит из моды». (Коко Шанель).
«Мода проходит, стиль остается». (Коко Шанель).
«Самая важная деталь в платье женщина, которая его носит». (Ив Сен Лоран).
«Хорошо одетый человек тот, кто считается с собой и с другими». (Пьер Карден).
«Я люблю, когда мода выходит на улицу, но не допускаю, чтобы она приходила оттуда». (Коко Шанель).
«Хорошо одетый человек тот, кто считается с собой и с другими». (Пьер Карден).
«Я люблю, когда мода выходит на улицу, но не допускаю, чтобы она приходила оттуда». (Коко Шанель).
9. Прочитайте текст и озаглавьте его.
This period saw the final abandonment of lace, embroidery, and other embellishment from serious men's clothing outside of formalized court dress it would not reappear except as an affectation of Aesthetic dress in the 1880s and its successor, the "Young Edwardian" look of the 1960s. Instead, cut and tailoring became much more important as an indicator of quality.
This was also the period of the rise of hair wax for styling men's hair, as well as mutton chops as a style of facial hair.
Breeches became longer tightly fitted leather riding breeches reached almost to the boot tops and were replaced by pantaloons or trousers for fashionable street wear. Coats were cutaway in front with long skirts or tails behind, and had tall standing collars. The lapels featured an M-shaped notch unique to the period.
Figure. Pierre Seriziat in riding dress, 1795. His snug leather breeches have a tie and buttons at the knee and a fall front. The white waiscoat is double-breasted, a popular style at this time. His tall hat is slightly conical.
Shirts were made of linen, had attached collars, and were worn with stocks or wrapped in a cravat tied in various fashions. Pleated frills at the cuffs and front opening went out of fashion by the end of the period.
Waistcoats were relatively high-waisted, and squared off at the bottom, but came in a broad variety of styles. They were often double-breasted, with wide lapels and stand collars. High-collared white waistcoats were fashionable until 1815, then collars were gradually lowered as the shawl collar came into use toward the end of this period.
Overcoats or greatcoats were fashionable, often with contrasting collars of fur or velvet. The garrick, sometimes called a coachman's coat, was a particularly popular style, and had between three and five short caplets attached to the collar.
Boots, typically Hessian boots with heart-shaped tops and tassels were mainstay in men's footwear. After the Duke of Wellington defeated Napoleon at Waterloo in 1815, Wellington boots, as they were known, became the rage; tops were knee-high in front and cut lower in back. The jockey boot, with a turned-down cuff of lighter colored leather, was correct for riding.
10. Составьте диалог «An interview with fashion designer», используя следующие выражения:
What is your impression of arts and fashion?
Where did you get the inspiration for your designs?
How do you keep up-to-date with your career?
What fashion trends interest you most?
What is in fashion for girls/boys this season?
Do you have a mentor?
And how about ?
What motivates you?
What can you say about ?
What are your weaknesses and strengths?
How do you manage working ?
What are your plans for the future?
Unit 4
NINETEENTH CENTURY
1. Прочитайте следующие слова вслух и переведите их письменно:
modernity, exponentially, buttons, empire, significance, bustle, purity, inventions, silhouette, curiosity, bust, waist, buttocks, posterior, suppression, rear, pleats, flounces, bows, lieu, apron, polonaise, hips, upholstered, fascination, crinolines, pad, distinctly, medieval, medieval, sleeves, prominence, cravats, lace, inserts, trim, embroidery, tucks, pleats, tulip, collars, bell, suits, fashionable, practical, variation, ties.
2. Прочитайте и переведите следующие глаголы:
to patent, to return, to influence, to define, to amplify, to exploit, to exaggerate, to reduce, to gain, to embrace.
3. Подберите эквивалентный перевод словосочетаний из колонки A в колонке В.
4. Прочитайте и переведите текст.
The 1800s were a time of modernity. The needle trade grew exponentially due to technological advances. Mass production was possible because of inventions like Elias Howes sewing machine in 1846. Machines that specialized in sewing buttons making button holes, and knitting made large production runs a reality. Isaac Singer patented the first home-scaled sewing machine and distributed it widely. At the same time, standard paper pattern became available through mail order. Of great significance, the first modern department store, the Magasin au Bon Marché, opened in Paris as early as 1852; across the Atlantic, Wanamakers opened in Philadelphia in 1861.
By the 1820s womens fashion had moved away from the classically influenced empire style and returned to the corseting and full skirts of the previous era. In the last quarter of the nineteenth century, however, it was the bustle that defined fashion. The conservative Victorian era is known for a prudish societal focus on moral values, especially female purity. Ironically, the fashionable silhouette of the day, although covering most of womans body, amplified the hourglass proportions of the bust, waist, and buttocks, eroticizing and idealizing an extreme version of the feminine form. Some liken the allure of this extreme silhouette to the interest in a woman known as Saartjie Sarah Baartman, who was exploited as a sideshow attraction called the Hottentot Venus. Baartman was considered an exotic curiosity because of the exaggerated scale of her posterior in relationship to the rest of the frame, a genetic characteristic of the Khoisan people of South Africa, in particular the women. Thus, a fascination with novelty and the uneasy suppression of sexuality could be seen to come together in the Victorian bustle.
The early bustle of 1870s can be described in terms of the lightness of material and lack of decoration. It was often created through the manipulation of the fabric that was draped in the rear, using pleats, flounces, and bows. The front of the silhouette had the appearance of an apron. For a short time, from 1878 to 1883, the bustle disappeared in lieu of a more natural, flat-backed dress. The cuirass bodice, a long waisted bodice that extended below the hips, and the polonaise, a princess sheath dress, achieved this slim shape. The period from 1883 to 1893 constituted the revival of the bustle. This new bustle had the look of an upholstered shelf, due to its large, almost horizontal protrusion. It was further accentuated with heavier fabrics and more ornate decoration. By the end of the 1800s, though, the bustle had been reduced to a small pad that carried into the Edwardian era.
Parallel to mainstream fashion, a movement emerged in the 1860s and 1870s known as artistic and, later, aesthetic dress. In protest against crinolines and restrictive corsets, as well as the idea of mass-produced clothing, a group of artists, writers, and actors, most famously associated with Dante Gabriel Rossetti and William Morris, promoted this looser, distinctly bohemian style that embraced many medieval and Renaissance sensibilities.
With the decline of the bustle, sleeves gained more prominence, culminating in the mid-1890s with gigantic leg-omuttons offset by a tiny waist. The American artist Charles Dana Gibson captured the ideal in his satirical illustrations of the modern woman. Although she became an icon of the era, the Gibson Girl was meant to caricature the sense of competition, independence, and athleticism that defined this new woman not necessarily traits that were encouraged for genteel ladies. The embellished blouse became a signature of the Gibson Girl, featuring details like lace inserts and trim, embroidery, appliqués1, faggoting2, tucks, and pleats. She also sported shirt collars with ties, bows or cravats. She wore these tops over skirts shaped like a bell or an inverted tulip. Tailored travelling suits were a fashionable and practical variation of the new look.
5. Ответьте на вопросы:
What do you know about Saartjie Baartman?
What do you know about Victorian era?
Can you describe fashion of the 19th century?
Who became an icon of the era in the end of the 19th century?
6. Переведите следующие предложения письменно.
1. В 1860-е годы в моду вошли кринолины из овальных обручей, которые создавали определенный силуэт юбки.