Tuesday, February 22, 2011

Term Paper Outline

This was done with secondary sources and in two hours to meet your deadline because I am waiting for my expensive primary sources to come in the mail. With them, I will gladly enhance my outline with primary material.
definitions-use either americanherritage dictionary or oxford english dictionary
-feminism, haute couture, Milan fashion house, Paris fashion house, Maria Gallenga, CoCo Chanel, Madeleine Vionnet
review of sources
bulk of paper-each paragraph should be analysis-two citations per paragraph

Thesis: In the early 20th century, women of the feminist movement were gaining attention through protests against feminine oppression, but the most powerful protest was the visual demonstration of women independence through the revolutionary clothing designs of Maria Monaci Gallenga, Gabrielle Chanel, and Madeleine Vionnet.

1. By the early 20th century, women were beginning to experience civil equality, and because of the first World War, jobs were opening up for women, but it would take many alterations for women to change their status.
a. Clothing silhouettes changed with the events of the feminist movement.
b. women wanted to show independence in their dress rather than their loyalty to men with clothing that fitted a man’s liking.
c. As women saw amends to their standards in society, their clothing had fashionabley change to be fundemental.

2. The turn of the century into the early 1900’s produced a revolutionary changed in women’s clothes away from the whale-bone, provocative corset.
a. Maria Monaci Gallenga was an Italian feminist of the early 1900’s who began as a Pre-Raphaelite artist but became a women’s designer to emphasize the liberation of the female body from corsets.
b. French designer, Gabrielle Chanel felt is was necessary for women’s clothing to be functional as women were finding more work and opportunities in society.
c. Madeleine Vionnet then advanced upon these ideas by producing simplistic clothing flats that more complex in their draping and intricacies.

3. Maria Monaci Gallenga began her experimentation with feminine silhouettes when she joined the Pre-Raphelite artists in the late nineteenth century.
a. Pre-Raphelite art, photography, and poetry aimed to recreate the whimsical nature of art before Raphael; the artists were against materialism and painted the natural beauty of a woman.
b. The Pre-Raphelite Brotherhood was passionate for romanticism and the spirituality of medieval culture; therefore, the many women in their paintings portrayed this type of spiritual, quaint romanticism.
c. The produced paintings were mainly of women in Grecian-type dress that expressed elegance and fluidity.

4. Maria Monaci Gallenga took a drastic step forward for women by transferring the elegance and freedom in her Pre-Raphelite artwork into her new passion for clothing design.
a. Her first gown made in 1917 was inspired by the Renaissance dress and the new “renaissance woman.”
1). the gown had drapping shoulders and no corset.
2). It tightened at the waist but did not constrict or hug the torso.
b. She used her art backing to create new pattern designs that added to the renaissance elegance and liberty
c. Now women who wore Gallenga’s designs did not display the mechanical, complex concept of a corset but rather the mysticism of a flowing gown.

5. Gabriel Chanel grew up as an orphan and supported herself as a performer for men.
a. Gabrielle had numerous experiences with oppressive men that took advantage of her body and her lack of freedom.
b. Chanel never married and had many tragic affairs with men; she even falsified her life history when telling it to others because she was self conscious of her humble beginnings.
c. Gabrielle was a modernist and minimalist thinker because she did not agree with the requirements of a woman’s figure and loyalty to men.
1).Gabrielle was a skilled seimstress because of her experience in the childhood orphanage.
2). Chanel began designing clothing that was inspired by men’s wear and minimalist concepts because she wanted clothing to be functional.

6. Gabrielle who became famous as CoCo Chanel with her aspiration to prove the elegance of the working woman.
a. Chanel introduced women’s pants, little black dresses, and new pearl acessories.
b. The superficial complexities and decorations of 19th century dresses was nonexistent in Chanel’s clothing, because she wanted for her shoppers to protest their independence from men with these immense silhouette amends.
c. After WWI, Chanel embodied the new status of a women with her clothing.
1). Women gained independence from the war
2). Women needed to dress practical for their new job opportunities.
3). Women protested individuality and powerful elegance with these sleeker garments that were not designed to satisfy men.

7. Madeleine Vionnet was a french designer in the 1920’s who believed that “when a woman smiles, then her dress should smile too.”
a. Vionnet excluded any entities that took away from the natural curves of the female body in her designs.
b. Vionnet also designed with simplistic silhouettes that were intricate in their draping and cutting to maximize fluidity along the female figure.
c. Her clothes accentuated the movement of women and was inspired by Greek Art where clothing draped above the body and moved with its natural movement.
d. Becuase she did not believe in mechanically molding the shape of a women’s body, Vionnet became a world renowned designer and innovator for feminine dynamism.

8. Vionnet was know as the “Queen of the Bias Cut” for coming up with the revolutionary bias cutting technique in her dresses.
a. the Bias Cut is a technique that Vionnet founded where she cut fabric bias diagonally against its elastic grain.
b. With this, the fabric would cling to the woman and would move with her natural curves.
c. The revolutionary cut was body-slimming to a woman’s figure.

9. Because leading designers Gallenga, Chanel, and Vionnet changed the way women were viewed with their daily dress, the feminist movement was greatly catalyzed and aid with visual representation.
a. Like Grecian Godesses, woman could choose to wear whimsical dresses that expressed the virtue and capacity of the natural woman.
b. a woman protesting to work, vote, and join parliament would not be able to prove her capability while sporting a constricting corset that proved obedience to masculine standards.
c. Through Gallenga, women obtained the neo-classic romanticism in their silhouette; through Chanel, men’s clothing was amended to express superior feminine beauty; and through Vionnet, women could sport their sensuality without materialistic structuring.

10. Clothing did not grant women direct freedoms, but its constant projection of protest catalyzed the revolutionary changes in the European feminist movement.

1 comment:

  1. Im doing a very similar paper, and this was really helpful! do you still have your bibliography per chance?