Đề cương bài giảng English for fashion design and garment technology

BỘ CƠNG THƯƠNG TẬP ĐỒN DỆT MAY VIỆT NAM TRƯỜNG CAO ĐẲNG KINH TẾ - KỸ THUẬT VINATEX TP HCM _ KHOA NGOẠI NGỮ ĐỀ CƯƠNG BÀI GIẢNG ENGLISH FOR FASHION DESIGN AND GARMENT TECHNOLOGY TP HỒ CHÍ MINH, THÁNG 09/2020 LƯU HÀNH NỘI BỘ CONTENTS Chapter 1: Highlight fashion through the ages Chapter 2: The workroom 14 Chapter 3: Model form and measurements 22 Chapter 4: Introduction to childrenswear 29 Chapter 1: Highlight fashion through the ages PREFACE With coordination of two books “Patternmaking for Fashion Design’ and “The Evolution of Fashion”, “Fashion and Life” is written with specific goals in mind: • To provide a comprehensive patternmaking text • To present clear instruction, with corresponding easy – to – follow technical illustrations and up-to- date fashion sketches, that will stimulate the creative imaginations of both technical and design-oriented students • To make available a reference source for the professional patternmaker and designer • To fill the need for basic foundation patterns • To provide a variety of instruction so that the motivated student will continue to learn long after the classroom experience We believe that this book will help students understand more about fashion and life Chapter 1: Highlight fashion through the ages CHAPTER 1: HIGHLIGHT FASHION THROUGH THE AGES Nature has supplied all animal, except humans, with some covering for their body- fur, feathers, hair, scales or a thick hide Humans have nothing but a thin skin and for thousands of years they must have wandered about the earth with no other covering If we were asked: “Why did humans start to cover their body with clothes?” Most of us would answer “To keep themselves warm” The first information about clothing comes from paintings on the walls of caves in the Pyrences mountains, on the border between Spain and France Archaeologists have dated these paintings to about 20,000 years ago, during the glacial period The cave dwellers are depleted wearing fur garments The earliest garments were developed out of necessity, for protection from the intense cold As the immediate physical needs were fulfilled, people could create garments which would give the wearer prestige Such clothing items became the earliest indication of a person’s wealth I BASIC PATTERNS OF DRESS From a technological viewpoint, only three basic patterns of dress have evolved: • The tailored garment • The draped garment • The composite type, which combines some of the characteristics of the tailored garment and the draped garment The tailored garment The untreated bear skin wrapped around the body was the simplest and first article of clothing Later these garments were sewn with bone needles and thread made of sinew The draped garment People in the Assyrian, Egyptian, Greek and Roman cultures draped and folded cloth to give individual styles of clothing Fleece, it had been discovered could be clipped, spun and woven on a loom These people draped a rectangle of woven weave fabric around the body The chiton of the Greeks, the toga of the Romans, the sari of the Indians, the poncho of the South Americans, traditional Maori costume and the Malayans are forms of the draped garment The composite garment Modern clothing in the Western world is predominantly of the composite type The garment is cut from cloth but shaped and sewn to conform to the contours of the Chapter 1: Highlight fashion through the ages body Many contemporary cultures still preserve the ancient traditions from which their costumes originally derive By 6000 BC the Egyptians had to spin and weave, and sheer white linen or cotton were common materials We know from the paintings and sculptures of the Egyptian pyramids and temples that men wore knee length skirts held in place by belts and women wore a straight slip that from the chest to the ankles Early Greek and Roman costumes are familiar to us from the statues and friezes of the period from about 1000 BC to about AD 500 the costumes remained essentially the same loose, sleeveless coverings, draped simply at first but later more elaborately Lengths of wool or linen were draped about the body, caught at the shoulders by a knot or pin and often girdled about the waist II FACTORS INFLUENCING THE EVALUATION OF CLOTHING To understand the dress of people in any society, past or present, it is important to look at how that society affects an individual’s choice of dress throughout history social change has been mirrored in fashion Law It can be seen that throughout history certain laws have existed regarding the type of dress allowed For example, during the fifteenth century, laws were made regulating the length of the toes on pointed shoes Barons in Germany, for instances, were able to wear shoes with toes 60 cm long but the toes of other men’s shoes were not allowed to exceed 30 cm In England, toes more than 60 cm long could only be worn by men who had an income of more than 40 pounds a year (which was a substantial sum of money) Law was passed too, on the height of the tapering head dress worn by women the hennin Women of rank were allowed to wear hennins 90 cm high, but others were restricted to 60 cm today laws exist regarding the type of clothing you can wear? Technology and resources The industrial Revolution, with its power driven machinery, made the production of vast quantities of cloth possible, so cheap: ready to wear clothes became available With the advent of more efficient transport systems fashions were able to travel more quickly from area to area As a result, fashion changes occurred more frequently Rapid fashion changes occurring this century are partly a result of advances in technology, such as the manufacture of synthetic fabric finishes, dyes, sophisticated equipment for clothing and sewing, and the use of computers and beams in clothing manufacture Wealth and class traditions Chapter 1: Highlight fashion through the ages A country’s economic system is an important factor influencing the clothing worn by a society Shortages and restrictions imposed on the use of raw materials tend to retard fashion changes A greater distribution of wealth in a society increases consumption and greatly accelerates fashion change Today the practice of discarding a garment because it has outlived fashion implies economic waste This was not the case in earlier times Several hundred years ago fashion did not change within the span of one’s lifetime Several types of dress and clothing customs have existed, and still exist, as a sign of importance For example, in the eighteenth century men shaved their heads and wore wigs as a sign that they were important Today why judges and wear wigs? Clothing as fashion was first worn by royalty and nobility Silks, colours and jewels demonstrated rank and power Political climate The belief of the political hierarchy, or other factors such as war and depression, were usually reflected in the clothes worn For example, in the seventeenth century when the Puritans rule England, the dress was plain as there were strict rules on simplicity A rigidly defined class system retards fashion movement and is reinforced by unequal distribution of wealth In an open class system such as our fashion changes flourish Media influence With the introduction of television in the 1950s the mass media became an important influence on the dress of the day Important popular and influential people show us the latest fashion through the media and set the fashion trends The leaders in fashion tend to be television and film stars, fashion designers, royalty, pop stars and sports stars III EVOLUTION OF CLOTHING TYLES THROUGH THE CENTURIES The sixth – twelfth centuries The period from the sixth to the twelfth centuries was a period of change and the combination of influences from several sources The Eastern Roman Empire was established with its headquarters at Byzantium (later called Constantinople and today Istanbul) Oriental modes of dress such as turbans, trousers and elaborate decorations were brought to the attention of the Western world By the twelfth century the popular costume consisted of the tunic, fitted to the figure and shaped with gores which gave width in the skirt section This costume was worn by both men and women; the woman’s version was full-length and the man’s, knee-length to full-length The fourteenth century Chapter 1: Highlight fashion through the ages France gradually emerged as the leader in politics and culture, and it also had an important influence in the design of clothing By the fourteenth century, clothes had become elaborate and very extravagant The fashionable clothing article was the tightly fitted bodice with a deep V-neck and a wide, shaped collar that extended out over the shoulders Long, loose sleeves were another feature of this garment A belt was placed low and the skirt had very deep pleats Some garment had a train The bodices of both men’s and women’s clothes were shaped and fitted to their wearers as they had never been before They were made to fit, not by drawing them in with laces, but by cutting the fabric and making seams at the back and front as well as under the arms, and by inserting gussets where necessary Women were wearing the hennin, a tall, cone-shaped hat which sat on the back or the head and had a well floating from its peak Some were as high as 90 cm It was popular for nearly 100 years Men usually wore two tunics The under one, called a gipon, had tight sleeves and a straight, tight skirt joined to the bodice Later the skirt became shorter and shorter until it reached only about half-way down the thigh The outer tunic, or cotebardi, was similar to the gipon and was buttoned or laced over it as far as the hip belt the sleeve of the outer tonic often fitted as far as the elbow and then widened out into a point or flap During the 1380s men and women began to wear a gown that was a complete contrast to those with a tight-fitting bodice It was called a houppelande and was often down the front but more often it just had an opening for the head to go through A wide belt held it in place at the waist houppelandes were often very bulky and were made of thick material Sleeves were often edged or line with fur The fifteenth century During the fifteenth century, the princess of the State of Burgudy (in what is now France) lived in magnificent wealth and extravagance Rich velvets, heavy damasks, soft silks and shimmering satins, combine with precious jewels added beauty and splendour to the age of chivalry Still the most flattering women’s dress of this period was the houppelande gown This was high-wasted and worn with a broad belt below the bosom The belt was usually decorated with circles, stars or flower designs and it was thought to process magical powers The low-cut neckline was filled in with a “modesty” vest and women were not allowed to show bare arms The skirt of the gown was full and edged with for which formed a long train Shoes were flat, so to make her look taller the fifteen-century woman wore a hennin which was stiffened and covered in shiver or gold brocade It was topped by a transparent veil which could be shaped and wired into Chapter 1: Highlight fashion through the ages two or three wings Hair was not allowed to show beneath the headdress, so women removed their eyebrows and the hair from the nape of their necks and foreheads A version of the houppelande was worn by men but it didn’t reach the ground By the middle of the fifteen century, the very short tunic had become popular with younger men The body of the tunic was padded, with flat pleats that came together at the waist and broad masculine chest and shoulders Hose, tailored of wool or cotton in various colours, were worn under the tunic Shoes were made primarily of soft leather, but velvet, brocade and other materials were also used Styles of men’s shoes varied from decorated short boots, faced or buckled at the side, to snug-fitting shoes with very long, pointed toes The points sometimes reached a length of 45 cm and it became necessary to tie the end back on the shoes with points longer cm The sixteenth century The end or the Middleval period heralded the start of Indian Renaissance fashion During this century, corsets came into vogue, clothes were shaped to fit the body and in the early part of century, the hoop made its appearance Both the corset and hoop became so extreme in cut they distorted the silhouette Portraits of Queen Elizabeth I of England show her wearing this exaggerated silhouette The waistline is punched in and the hips are widely extended The sleeves were puffed into balloons and a ruff was worn around the neck The ruff was perhaps the most striking feature of the period It was worn by both men and women from the 1550s onwards It began as a small frill at the neck of the skirt or chemise, then it became a separate article of clothing, gradually becoming lager and larger Spoons had to be made with extra-long handles so that people wearing cartwheel ruffs could feed themselves easily The development of the ruff was encouraged by the fact that, about this time, people learnt how to make lace for the adornment of their clothes The making of true bobbin and needle-point lace dates from the sixteenth century, possibly starting in Italy Queen Elizabeth I of England loved lace and possessed an enormous quantity of it She passed laws forbidding her subjects to wear lace and she also forbade the wearing of very larger ruffs, although her own were the largest in Europe Men began to wear breeches, and a German fashion known as ‘slashing’ became popular This consisted of pulling a vividly coloured contrasting lining through slits in the outer material of sleeves and breeches The prototype male shirt was eventually fined pleated and worn under the doublet It had a standing colour gathered into a small frill at the neck Trunk hose were worn more in England then any where else They had a silk lining which was padded with horsehair or rags Chapter 2: The workroom 20 the fabric so that the grainline is parallel to the selvage edge Pattern placement is illustrated in the effect of grainline on garments is shown Direction of grainline Vertical grainlines are drawn parallel to center for garments cut on straight grain Bias grainlines are drawn at an angle to center (45% angle for true bias) for garments cut on the bias Horizontal grainlines are drawn at right angles to center for garments cut on crosswise grain Chapter 2: The workroom 21 Figure 2.3 ( Direction of grainline) XII Balance line terms (Figure 1.4) Plumb line Perpendicular line Chapter 2: The workroom 22 Vertical line Horizontal line Right angle Asymmetrical line Symmetrical line Figure 2.4 (Balance line terms) XIII Special Information Right-side-up (when sides differ) Instruction applies to asymmetrical designs (right side differs from the left side) and for patterns cut from engineered fabric such as border prints, randomly spaced flowers, geometric forms, and multiple colors Such fabric require specific pattern placement so that the fabric design can be arranged in the same location for all garments cut from that fabric Right-side-up (RSUP) indicates to the marker that the pattern is to be placed face up on the marker Detail location Mark the location in which a detail is to be placed on the pattern This will ensure that the flower, abstract detail, or wrap will always be on the correct side and in the correct place on the garment Chapter 3: Model from and measurements23 CHAPTER 3: MODEL FORM AND MEASUREMENTS Who is the standard ideal figure? Pattern industry standards Department Store Standard Other attempts at standardization ASTM Standard Landmark Terms Symbol key Measuring the Form Circumference Measurements Horizontal Balance Line (HBL) Horizontal Measurements Vertical Measurements Standard Measurement Chart Figure 3.1 (Ideal figure) During the past 40 years, dress forms have evolved to keep pace with changing silhouettes and fashion trends The original forms were shapeless, willowed-caned, with woven mounds that were padded to individual specifications Today forms are made of mental and canvas and hand-molded with papier- mache, having collapsible Chapter 3: Model from and measurements24 shoulders and attachable arms and legs Form can be ordered to specific measurements and with ease added Different types of forms and sizes are available, from infants, toddlers, children, teen, missy and larger sizes for both males and females Forms are available for specific garment: dresses, evening gowns, shirts, and pants I Who is the standard ideal figure?( Figure 3.1) She is a composite figure whose measurement standards are based upon who is listening to whom She evolved from consumer feedback to buyer, buyer to manufacturer, and manufacturer to model form company Her standards are whatever successful manufacturers, commercial pattern companies, chain and development stores, and industrial form companies say they are She is form, she is a figure; she is a set of measurements, and her silhouette changes at the slight whim of fashion She is considered “ Ideal” only when her measurements satisfy a majority of consumers II Pattern industry standard In response to national standards and consumers’ need, the pattern industry established the measurement Standard Committee, which devised its own standard set of figure types and sizes The example below is a composite of the pattern industry figure types Specific measurements can be found on page 30 They are periodically revised and updated III Department store standard Department stores and catalog merchants such as Sears, J.C Penney, Montgomey Ward, and Spiegel have developed their own strict specifications to satisfy the needs of their customers Some use National Bureau of Standards measurements Others conduct surveys and sampling of the population by sending survey forms to their consumers, requesting their measurements This information is compiled, and specification sheets are given to the manufacturer to use in developing patterns for that particular merchant IV Other attempts at standardization Attempts to standardize sizes in America originally began in the late 1800s, when manufacturers mass produces farm labor uniforms in small, medium, and large sizes- which proved less than ideal for those smaller or larger than this size range The next serious effort was made by military in its attempt to mass- produced well-fitting uniforms In 1901, the federal government created the National Bureau of standards (NBS), a no regulatory agency for the purpose of standardizing measurements for science and industry By 1970, NBS had developed complete size range standards based on frequency measurements from large segment of the population V ASTM Standards Chapter 3: Model from and measurements25 • Children • Adult Female misses • Women aged 55 and older VI Landmark Terms The following landmark terms identify the parts of the form that are referred to when measuring from one landmark to another Numbers refer to both the front and back whatever indicated Center front neck Center back neck Center front waist Center back waist Bust points Center front bust level ( between bust points) Side front ( princess) side back (princess) Mid-armhole front Mid-armhole back Shoulder tip Shoulder at neck ( shoulder/neck) Armhole ridge or roll line 10 Plate screw 11 Armhole plate VII Symbol key( Figure 3.2) - CF = Center front - CB = Center back - BP = Bust point - SS = Side seam - SW = Side waist - SH = Shoulder - HBL = horizontal balance line - SH-TIP = Shoulder tip Chapter 3: Model from and measurements26 Figure 3.2 ( Landmark terms) VIII Measuring the Form To avoid fitting problems, take measurements carefully Taking measurements Place the metal tip end of the tape measure at one reference point and extend to the next reference point when taking measurements Record measurements on the Model Measurement Chart (found at the back of the text) Numbers in parentheses correspond with those on the chart Arc measurements are taken from center lines to the side seam The same half of the front and back of the form is measured IX Circumference Measurements Bust (1) Across bust points and back Waist (2) Around waist Abdomen (3) Three inches below waist Hip (4) Measure widest area with tape parallel with floor Pin to mark hip level at center front (referred to as X-point) X Horizontal Balance Line (HBL) Measure up from the floor to the pin mark(x) at center front Use this measurement to measure up from the floor and pin mark center back and side seams Pin mark at princess lines, if desired Recheck measurements Chapter 3: Model from and measurements27 Draw a line around the hip touching each of the pin marks, or use adhesive tape to mark the hipline The standard hip depth is to inches down from the center front waist for juniors and petties, to inches down for missy size XI Horizontal Measurements(Figure 3.3) FRONT across shoulder across chest bust arc bust span waist arc dart placement abdomen arc hip arc hip depth BACK back neck across shoulder across back back arc dart placement abdomen arc hip arc hip depth Figure 3.3 ( horizontal measurements) Chapter 3: Model from and measurements28 XII Vertical Measurements Figure 3.3 side length (11) Pin mark below armplate at side seam to side waist Shoulder length (13) Shoulder tip to neck Side hip depth (26) Side waist to HBL, on side of form being measured Figure 3.4 ( vertical measurements) XIII Standard measurement chart Circumference Measurements 1” 1” Bust Waist Abdoment hip 34 24 32 ½ 35 ½ Upper torso(bodice) 5.Center length Front Back Full length Front ½” ½” ½” 10 12 14 16 18 35 25 33 ½ 36 ½ 36 26 34 ½ 37 ½ 37 ½ 27 ½ 36 39 39 29 37 ½ 40 ½ 40 ½ 30 ½ 39 42 42 ½ 32 ½ 41 44 14 ½ 16 ¾ 14 ¾ 17 15 17 ẳ 15 ẳ 17 ẵ 15 ẵ 17 ẵ 15 ắ 18 16 18 ẳ 17 17 3/8 17 ắ 18 1/8 18 1/8 18 7/8 19 ẳ Chapter 3: Model from and measurements29 Back Shoulder slope Front Back Strap Front Bust depth Bust radius 10 Bust span 11 Side length 12 Backneck 13 Shoulder length 14 Across shoulder Front Back 15 Across chest 16 Across back 17 Bust arc 18 Back arc 19 Waist arc Front Back 20 Dart placement 21 Not needed LOWER TORSO (skirt/pant) 22 Abdominal Front Back 23 Hip arc Front Back 17 ¼ 17 5/8 18 18 3/8 18 3/8 19 1/8 19 ẵ 16 ẵ 16 ẳ 16 15/16 16 11/16 17 ¼ 17 1/8 17 13/16 17 9/16 17 13/16 17 9/16 19 1/8 18 7/8 9½ 2ắ 3ẵ 8ẳ 2ắ 1/8 9ắ 1/8 7/8 5/8 3/8 7/8 3/16 10 9ẳ 3ắ 8ẵ 5ẳ 10 3/8 3/8 1/8 1/8 1/8 1/16 11/16 18 11/16 18 7/16 7ẳ 3/8 6ắ 9ẳ 8ẵ 3/8 7ẵ 6ẳ 7/8 9ẵ 8ắ 7ẵ 5/8 3/8 9¾ 11/16 13/16 9/16 3/8 10 1/8 3/8 6¼ 5ắ 3 6ẵ 1/8 1/8 6ắ 6¼ 3¼ 3¼ 1/8 5/8 3/8 3/8 8ẳ 7ẵ 8ẵ 7ắ 8ắ 1/8 3/8 9ẵ 8ắ 7/8 1/8 10 3/8 5/8 8ẵ 8ắ 9ẳ 9ẵ 9ẳ 7/8 9ẵ 10 ẳ 10 1/8 10 5/8 10 5/8 11 1/8 10 3/8 3/8 1/8 7/8 5/8 1/8 3/8 7/8 6¾ 3/8 10 ẵ 9ắ 7ẵ 3ẵ 3ẵ 11 1/8 5/8 3/8 1/8 2/8 3/8 5/8 1/16 3/16 15/16 9/16 10 7/8 10 1/8 7/8 3/8 5/8 5/8 11 5/6 10 3ắ 4ẳ 3ẵ 13/16 5/16 7/16 3/16 11/16 11 3/8 10 5/8 3/8 7/8 3¾ 3¾ Chapter 3: Model from and measurements30 24 Crotch depth 25 Hip depth center front center back 26 Side hip depth 27 Waist to ankle Waist to knee Waist to floor 28 Crotch length Vertical trunk 29 Upper thigh Mid – thigh 30 Knee 31 Calf 32 Ankle 9ẵ 9ắ 10 10 ẳ 10 ẵ 10 ắ 11 8ẵ 8ẳ 8ắ 37 39 22 ẳ 24 ẳ 60 19 ẵ 17 13 11 9ẵ 8ắ 8ẵ 37 ẵ 39 ẵ 22 5/8 25 ẳ 61 20 ẳ 17 ẵ 13 ẵ 11 ẵ 9ắ 8ắ 9ẳ 38 40 23 26 62 21 18 14 12 10 9ẳ 9ẵ 38 ½ 40 ½ 23 3/8 26 ¾ 63 ½ 22 18 ắ 14 ẵ 12 ẵ 10 ẳ 9ẵ 9ẳ 9ắ 39 41 23 ắ 27 ẵ 65 23 19 ½ 15 13 10 ½ 9¾ 9½ 10 39 ½ 41 ẵ 24 ẵ 28 ẳ 66 ẵ 24 20 ẳ 15 ẵ 13 ẵ 10 ắ 10 9ắ 10 ¼ 40 42 24 ½ 29 68 ½ 25 ¼ 21 ¼ 16 14 11 Chapter 4: Introduction to childrenswear 31 CHAPTER 4: INTRODUCTION TO CHILDRENSWEAR Childrenswear Challenges Color and Functional Clothes Size Grouping Size categories for childrenswear Sources of inspiration I Childrenswear Challenges Creating childrenswear offers some new challenges to the designer and patternmaker, Comfort, which reflect good fit, proportion, and function, is nowhere more important than in the creation of childrenswear While adults are sometimes willing to sacrifice comfort for aesthetics, children never are The business of children is to learn In order to successfully accomplish the many activities on which learning hinges, children require unencumbering and at the same times stimulating clothes Figure 4.1 ( Sizes) II Size Grouping (Figure 4.1) Sizes for children’s clothing are grouped according to body circumference and proportion Overlap between toddlers’ and children’s sizes occurs as proportions and heights very within the age range, almost to the same degree that those with the to 14 sizes overlap on the upper end with junior sizing Size groupings reflect changes in the proportions of children as they pass from infant (3,9,12,18 or 24 months) through toddlers (2T, 3T, 4T) to children’s (3,4,5,6 boys’ and girls’, with 6X for girls only), and into boys’ and girls’ sizes(7,8,10,12 and 14) (Size 16 is used for larger boys’ pants) III Color and Functional Clothes Chapter 4: Introduction to childrenswear 32 One of the most stimulating aspects of children’s clothes is the primary palette that remains the favorite of children every season Fabric, too, must be functional, and parents frequently demand material that requires only limited maintenance Fibers and fabric types for childrenswear are not much different from those found in clothes for comparable uses among adults and teens, although prints, plaids, and stripes are proportioned for the smallest body IV Size categories for childrenswear Physical observations: There is a jump in growth and figure is more defined the torso is longer, a natural waistline appears, and bust and hips start to take shape in girls boys have slim hips, blending into the waistline For both boys and girls, this is an interim period when the figure matures at varying stages Garments within this upper size range not always fit the figure well A better fit may be found in the junior department, with boys’ pants fitting better in a size 16 Slim and Regular sizes are separate labels for girls, and Slim, Regular, and Huskys are labels for boys’ pants This labeling indicates special fits for other figure types V Sources of inspiration Designers of childrenswear gain inspiration from many diverse sources, including those provide by fashion-minded children Younger children are influenced by what they see on TV, in movies, and in books They want to wear clothing displaying their favorite characters from TV (Sesame Street characters, the Simpson’s, the Flintstones, Mickey Mouse, Bugs Bunny, Barney, and others), Walt Disney movies, Super man, or Jurassic Pack themes, to name a few a manufacturer must be licensed to use characters based on various television shows A premium is paid to the creator of cartoon characters that are used on garment Older children, while still interested in TV and movie characters, become more interested in fashions that are part of the “hip hop scene” Boys and girls aged to 14 are influenced by fashions of the junior market They want their garments to reflect those worn by an older sister or brother or by classmates They have heroes- key players from football, baseball, basketball, hockey, and other sports They idolize movie stars and music personalities from country, rap or rock categories and want to dress like them This infatuation creates fads in fashion, such as the hip hop influence: bag pant, underwear, worn as outerwear, and the grunge look (over oversized) Designers who want to be up to date with the latest fads should study children at school, on the playground, on TV, and in the movies Other sources of inspiration are Chapter 7: Slacks 33 REFERENCE Helen Joseph – Armstrong, Patternmaking for fashion Design Margot Hamiltion Hill Drama, The evolution of fashion, book publishers New York, 1999 ... of fashion by Quentin Bell “Tastes shared by a large number of people for a short space of time” 3.2 Style: the design of a garment 3.3 High Fashion: Clothes designed by fashion designers A design. .. Europe In England, the Cavaliers fought for King Charles I and the Puritans fought for parliament and Oliver Cromwell The Puritans won and the King was beheaded For 11 years England was a commonwealth... Important popular and influential people show us the latest fashion through the media and set the fashion trends The leaders in fashion tend to be television and film stars, fashion designers, royalty,