1930 -1944
CLASSICISM
In September 1930 the French magazine L’Officiel de la Mode observed “a tendency towards classicism and pure Greek lines” in the latest collection of the Paris fashion houses, singling out Vionnet as having been “decidedly” influenced by Greek art.
In the previous decade appreciation of ancient styles had found expression in the use of patterns such as the meander or the Greek key.
The return to long evening gowns in the 1930s enabled couturiers to transform their clients into Greek or Roman statues.
The look of original garments from the classical period had been a matter of chance coupled with the wearer’s skill for drapery.
Neoclassical gowns were more structured—the drapery and folds more controlled—drawing attention to the body underneath.
The use of fluid fabrics such as silk jersey or satin, asymmetry, and decorative borders were trademarks of this new line.
White and off-white governed this style, but black, and occasionally brighter colors, were also used.
MADAME GRES
In 1933 Germaine Krebs began to create clothes under the assumed name of Alix Barton.
She changed her name again when she opened the House of Res in Paris in 1942.
Having trained as a sculptress, Mme Gres liked to drape her pleated evening gowns on a model or stand.
She often used silk jersey, which molded itself to the wearer’s body, for her neoclassical designs.
Her success continued until the 1980s.
BRASSIERE
First patented in 1914, it was during the 1930s that the brassiere (a term in use at least since the early 20th century) came into its own.
Rather than compressing the bust, it now provided lift, support, and separation.
Kestos developed a brassiere with two formed cups.
The brand name derived from the Greek chests or chests, the magic girdle or belt of the goddess Aphrodite.
Kestos also developed special brassieres for low-backed evening dresses.
1930 - 1944
古典主义
1930年9月，法国时尚杂志“巴黎时尚之乡”收录了巴黎时尚工作室的最后一个系列“一种古典主义与纯粹希腊风格”，将Vionnet视为希腊艺术的“决定性”影响。
在对过去十年古老风格的欣赏中我们发现，一些常用的曲折图案设计例如晚宴线条或者希腊回纹。
二十世纪30年代回潮的长款晚礼服，使得时装屋将他们的客户都变成希腊或罗马雕像。
来自古典时期的原始服装造型，一直是与穿着者打褶技能相链接的。
新古典主义的衣服更加结构化，垂坠与褶皱被精心设计，更容易令人注意到服装下的躯体。
使用流苏织物如丝制针织或缎纹，不对称设计与装饰饰边是这一新风格的标志。
白色和灰白统领了整个风格，不过黑色与偶尔的亮颜也会被使用。
格蕾丝夫人
1933年，Germaine Krebs开始以假名Alix Barton创造她的系列服装。
1942年，当她在巴黎开了时装屋时，她又改名字。
曾接受过雕塑训练的她，喜欢直接在模特或衣架上制作她的打褶晚礼服。
她经常使用丝制针织，将自己塑造成穿着者，为她的新古典主义作设计。
格蕾丝夫人的成功持续到20世纪80年代。
胸衣
1914年首次获得专利，二十世纪30年代“胸衣”（这种叫法至少从二十世纪初便有了）成型。
它不压缩胸围，而是提供提升，支撑与更灵活的活动空间。
Kestos开发了一款带有两个分开杯型的胸衣。
品牌名称源自希腊胸部或胸部，魔女腰带或女神阿芙罗狄特腰带。
Kestos还为低背晚礼服开发了特制胸衣。
