HITCHCOCK

40's austerity and elegance emulated chiefly from the Prada and Lanvin collections. With reference to Hitchcock's female
heroines and wool skirt suits influenced by World War II, double breasted belted jackets and details like exaggerated
shoulders and lapel shawl collars are important. 

Color: 
    camel tones dominate the palette 
    a dose of masculine gray and black

Key Accessories: 
    structured handbags
    driver gloves
    pearls
    crocodile skins
    wide-brim hats

RENAISSANCE
Continuing the literal translation of combating the rough economy with a warrior-like aesthetic, Joan of Arc comes back in
the scene with a dose Robin Hood. The look is medieval to the point of molded breastplates and fabrics include boiled
wool, fur trim and chainmail knits. Prada's vision of medieval leather sliced dresses was particularly impactful.  

Color: 
    earth-rooted and forest colors come together in a heraldic Coat of Arms sensibility
    berries sit next to deep olive and pop against neutrals

Key Items: 
    skinny pants with a riding aesthetic
    cozy cardigans 
    over-the-knee boots
Renaissance Costume Fabric
•Italian textile production during the 14th century prospered through silk fabric production in city states,
such as Florence and Lucca.

•Lucca was the first prominent textile city and imported large amounts of raw silk for processing.

•Raw silk was imported in bales called "fardels" that were covered by canvas and tied by one lengthwise
cord and several crosswise cords. The fardel became the symbol or emblem of the Lucchese silk
merchants.

•Influences on Lucchese design include Mongol silks with phoenix and dragon motifs, castles, eagles,
hunters, gothic and architectural features. 

•Lucca was also known for "Diasper Silk Fabric" which is silk fabric decorated with confronted birds
alternating with pairs of beasts.

•Florence, called the City of Flowers, received its name from the floral motifs dominant in its fabrics.
.
European Renaissance Fashion Fabrics
•By 1490, Gothic dress in northern Europe had given way to the simpler styles of Renaissance Italy.

•Renaissance patterned fabric, usually velvets and brocades, were more popular than materials of a single color from about
1480 to 1510.

•From about 1550 to 1600 the Renaissance was dominated by Spanish fashions. The costumes worn during this period were
influenced by geometric shapes. Dark silks and velvets were the most popular fabrics, they were effective backdrops for
precious stones and jewelry. 

•The hoopskirt, or farthingale, reached its maximum width around 1600, when it assumed a cartwheel or drum-shaped
appearance. Combined with ballooned sleeves and expanded ruffs or circular lace collars, it made a woman appear
formidable or even unapproachable. With puffed-out trunk hose, balloon sleeves, padded doublets, and the same large ruff
collars, men achieved a similar appearance.
Renaissance Garments in the Church
•Aspects of fabrics in the Church implied sacredness in addition to the preciousness of the material.  

•Garments worn by the clergy established their position within the Church's hierarchy.

•The garments the clergy wore also corresponded to the function they performed - deacon, priest, etc.
German Renaissance Ornamentation
•The German Renaissance costume was marked by the development of a unique method of ornamentation known as
slashing. Two layers of cloth were placed one over the other. The outer was then slashed to reveal the contrasting inner one.

•Sumptuary laws were decreed that commoners should wear clothing of only one color. To get around this new unpopular law,
both men and women began to slash their clothes. 

•At first slashing consisted of small, intricate patterns, but from 1600 to about 1650, slashing were longer and vertical in
shape. The open cut of the outer surfaces of garments (doublets, sleeves, hose) exposed the contrasting color of the linings
beneath. The linings would then be pulled through the cuts and puffed out to further emphasize the contrast.

BODY PERFORMANCE
• A ballet dancer style express by skintone palettes
with fleshy tones, plastery pastels ans talcy mauves
with some tonic accents, luminous coral, and
graphic contrast of black and white.
• The fabrics are supples with silky blends,
enveloping knits, velvety marled cot-tons, unctuous
leather.
• knittings etc.
Cocooning look with jumpsuit, fitness style pants,
satin braids details, coarse-grained and second skin
fabics.
• A color range constructed around graphic black and
white completed by neu-tral tones like gray and
honey brown. Meanwhile, orange touch position
itself in a direct contrast.
• Fabrics are light and supple, sophisticated. Accent
on synthetic fabrics as refined polyamides and
polyesters alone or blended with wool, silk or cash-
mere for more comfort.
• Softness and stretch are essentials for second skin
fabrics, presence of lycra.
• Product focus on jogging and sportswear
outerwear.
• RETRO ENGLISH STYLE
•The Retro English style of this theme is evoked by muted tones,
luminous
•camel, greenish-blues, taupey-gray, rich burgundy. Add British
cakes colors:
•cupcake pink, acid marmalade, electric anise, milky blueberry.
•Noble materials and traditional men’s wardrobe codes ( jacket
for example)
•are feminised : recolored tweeds, marled wools, Prince of Wales
•A certain form of opulence is favored with an ornamental style
( jewellery),
•tapestry style (exuberant motifs) , precious weaves (silk twill,
lame voile).
•Finally very basic “chino” cottons and raw denim.
•Sumptuous colors with patinated velvet shades: violet, brick red,
ochre, Prussian
•and faded blue. For bases, revolutionary inspiration with red and
bronze
•alongside dark gray.
•Reworked shabby baroque mood: 18th century upholstery,
tapestry and
•brocade motifs are enlarged, recolored and covered in lines and
stains. Parade
•mood illustrated by tone-on-tone crests and braids or old gold
embroideries.
•Circus stars style and polka dot motifs, colourful club stripes… a
delirious
•register: lively jacquards, tartan plaids with tie prints and
reworked paisleys.
•Neo-military style, baggy chic spirit, Perfecto circus, barocco
prints.