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建立人际资源圈澳洲论文代写：New Look on Fashion World
2017-05-05 来源: 51due教员组 类别: Essay范文
本篇澳洲论文代写讲了Christian Dior不仅是法国最伟大的时尚设计师之一，象征着时尚文化的最高精神，也是不断传播其世界各地先进创新营销理念的辉煌营销人员，对时尚界和追随者产生了极大的影响。本研究基于以往的研究，不仅从艺术和礼服美学的角度讨论了他的伟大的艺术价值和具体的风格。本篇澳洲论文由51due论文代写机构整理，供大家参考阅读。
Christian Dior was not only one of the greatest fashion designer in France symbolizing the highest spirits of fashion culture, but also a brilliant marketer to constantly spread his advanced and innovative marketing philosophy all over the world, which left a great influence on fashion world and followers. This research paper, based on the previous researches, not only discusses his great art value and specific styles from the perspective of art and dress aesthetics, but also takes the comprehensive method to study his specific effects on the fashion marketing and fashion business, which displays Christian Dior’s outstanding contributions to the fashion world and makes this study be more universal (Steele 1983).
Christian Dior was one of the world-famous fashion designers who was given the highest awards in French art world --“Remise de la legion d’honneur” (Emeralda de Rethy, Perreau, Jean-Louis Perreau, Thames &Hudson, 2001) who have extremely dispelled the gloom among woman since the World War II and reshaped the image of French fashion design to make it enter the “golden time”, mainly relied on his creation--New Look. Through comparing with the fashion design before the World War II, this paper not only stressed on the significance of Dior’s “New Look”, but also showed his talents in the fashion business, which deserves us to make an in-depth research. (补充）
In 1939, along with the advent of World War II, Paris was not the center of the world fashion any more and the fashion design began to step into a special time. Fueled by the extensive women’s liberation movement, more and more fashion designers preferred to advocate the application of functionalism in their designs that meat they paid more attention to the clothes’ practicability rather than formalism. Some loose and comfortable materials and design became more adaptable to the working environment. The simple and practical military uniforms were gradually recognized and were reflected through various details. For example, the designers stressed on the straight line design with flexible detail structure and functional military suits. Added to the shortage of materials supplies, people’s dress aesthetics and ethical values seemed to be inclined to virilization and ignored the charm of women themselves.
The year of 1947 was a revolutionary when Christian Dior brought his gorgeous costumers into this first press in No.30 Avenue Montaigne of Paris, the whole Paris, Europe and even the whole fashion world were completely shocked by those flowing lines, perfect shape as well as beautiful garments that differed from the traditional ones (Baker TD. 1997). Compared with the fashion design before the World War II, Christian Dior paid more attention to the contours design with high and slender waist, snugly closed breast as well as tight-fitting lines. Carmel Snow, the famous editor-in-chief of Harper’s Bazaa, named the series as “New Look” and emphasized on its innovation and transformation that were different from those jackets with shoulder pad in them and also distinguished from the military uniforms’ simplicity and masculinity, which has endowed with feminine inclination that was more beautiful and moving full of particular visual beauty coordinated with the environment harmoniously (David E. Lazaro, 2015).
Christian Dior’s “New Look” (Dior C,1949) created fresh innovations that greatly changed the feminine inclination of frequently neutral appearance in face of wars and difficult life, reawakened their deepest yearnings and intuition of tender nature and personal charms and brought them back to a new life that kept far away from fighting through a quite clearly and subversively design of womenswear. It seemed that the square-shouldered womenswear was out of times overnight. People generated great interests and enthusiasms towards Christian Dior and his ‘New Look”(Rasche A. 2007). Just Christian Dior, himself, once said that no one could change the fashion. The large force to change fashion was from itself and the “New Look” was regarded as a result of fashion change, which also verified the truth that fashion is the social barometer to reflect all aspects of social development including economical, political, cultural as well as people’s psychological each level. The series of “New Look” deeply reflected his very deep perception, belief and values towards current social fashion life so as to help him extremely keep pace with the times to meet women’s requirements for the ages and satisfy their pursuit of freedom and liberation that crossed the classes and nationalities and became the international concerns.
The essence of “New Look” was a proper expression of carrying forward the beauty of women both internal and external and was reflected through human morphology and composition, which displayed not only the Christian Dior’s design concept, but also his lifelong goals. Dior used the stains, tapes, embellishments as well as ruffles to illustrate us a mellow and exquisite feminine world for us and create so many aesthetic myths in the world fashion design world, which not only renewed the France’s leading position that mainly displayed through Dior’s consistent pursuit of a sovereign, a pursuit of the French traditional culture, dress, and personal adornment, but also injected new vitality to the fashion world, especially the United Stated where Dior’s design achieved the unprecedented success because of women’s desire for freedom and liberation. In United Stated, Dior put fashion design as a way of communication (Richard Avedon,2001).
In addition, it also happened in United States. According to the customers’ feedback and sale performance of “New Look” (Steele V, 1983), as an excellent marker, Christian Dior made the accurate judgments that he first came up with what I sold was not the dresses themselves but his unique design, which greatly attracted women’s attentions, because everyone wanted to be unique. Besides, based on such marketing concept, Dior first created the patent fees in United Stated, which differed from the traditional fashion business practice. On one hand, Dior could earn extra money through authorization; on the other hand, it would be a great help for his brands to reject the piracy, which made him maximize the profits of his company. Until today, the franchising won the great affirmation from all over the world. So many companies began to follow his steps. Moreover, Dior was the first man to establish the notion through registered trademark. Some new words, such as trademark, standard contract and brand images, gradually permeated into people’s business activities that led the traditional fashion design to enter the modernization.
All in all, as the outstaning fashion desigoner, Christian Dior, relied on his sharp market insight and matchless craftsmanship, dared to break the durance for individual temperament and constantly pursued excellence and innovation for going beyond himself so as to become an enduring myth, which not only changed the way of our thinking and left a deep impact on our way of life, but also enlightened us a lot in our fashion marketing exploration and development. Let’s salute Christian Dior and his “New Look”.
References
Almond, Kevin. (1997). Dior, Christian. St. James Fashion Encyclopedia, 101-102.
Baker TD. (1997). Christian Dior: The Man Who Made the World Look New. Library Journal.
Dior C.(1949). Ensemble-Blouse, Skirt, Belt, Purse. Texas Fashion Collection.
David E. Lazaro. (2015). Dior’s New (England) Look. Dress: the Journal of the Costume Society America, 95-106.
Emeralda de Rethy, Perreau, Jean-Louis Perreau, Thames &Hudson (2001). Christian Dior: the early years, 1947-1957.
Rasche A. (2007). Christian Dior und Deutschland, 1947-1957. Amoldsche Art Publishers.
Richard Avedon. (2001). Dior’s New Look. New Yorker, 2001 Vol. 77 Issue 4, 106-107.
Steele V. (1983). Exhibition Review: Christian Dior. The Costume Institute. The Metropolitan Museum of Art. Pandora Press, 1(2): 231-242.
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