Pierre Cardin

Following Dior’s triumphant success with the “New Look” which overnight reestablished Paris as the fashion capital of the world, the city was gripped by gold fever. In 1951 Pierre Cardin showed his first collection. Since he had little starting capital, the collection was restricted to 50 coats and suits. His designs were an overwhelming success precisely because Cardin had avoided any imitation of the two most influential fashion geniuses of the period, Dior and Balenciaga.

Cardin, a marketing genius, is known as the fashion designer with the greatest number of licenses worldwide. Yet he is also one of the most innovative couturiers. In 1958 he designed the first unisex collection, which united men and women in a joint lifestyle statement.

He had the audacity to be the first couturier to produce a ready-made collection. As a result he was expelled by the strict “Chambre Syndicale”. But even the latter soon had to accept that nothing would stop the American ready-to-wear concept from invading the motherland of fashion. It was swiftly named prêt-à-porter, thus allowing couturiers to choose whether they wished to use this avenue to make money – and allowing Cardin to return.

Karl Lagerfeld

The conclusions which Karl Lagerfeld drew in the 1960s from the signs of the times were quite different from those drawn by Courrèges, Cardin and others. While Lagerfeld's contemporaries saw the future in the space-age look, he put his money on the replacement of couture by ready-to-wear. And, instead of devoting himself to his own couture house, he worked as a freelance designer.

He first found fame at “Chloé” where he started to work in 1963, remaining there for 20 years.

In 1965 he began to design fur collections for the Fendi sisters in Rome and today he іs responsible for all their collections. However his greatest coup has been the revitalization оf the legendary Chanel style.

Emanuel Ungaro

Emanuel Ungaro began his career as an independent couturier. His early collections featured severe combinations of blazer and shorts.

He soon developed his own style which was based on a bold mix of colours and patterns. Flowers on checks or stripes with large polka dots in bright colours are typical of Ungaro, who never succumbed to the pessimistic tendencies which took hold of some other designers.

Ungaro does not sketch his designs but works directly with the fabric on the body of a model – for up to 12 hours a day, always with the inspiration of classical music.

The Italian Ferragamo group took over the running of his business in 1996, while keeping Ungaro as the undisputed creative head of the organization. In 1999 he showed a modernized version of hippie fashion: long, frilly, floral skirts with cropped tops in matte mauve and beaded, chiffon pants worn with feather-light jackets or fur-trimmed stoles.

III Make up a plan of the text.

IV Translate the paragraphs in italics in a written form.

V Questions for discussion:

1. What materials does Paco Rabanne use in his work?

2. What is the most famous Rabanne’s garment?

3. When did Pierre Cardin show his first collection?

4. What did his collection consist of?

5. Who designed the first unisex collection?

6. What does prêt-à-porter mean?

7. Did Karl Lagerfeld work as an independent designer?

8. Who was a revitalizer of Chanel style?

9. What are the features of Emanuel Ungaro style?

10. How does Ungaro create his designs?

VI Render the text in brief in a written form.

TEXT C

I Mind the following words:

1. piecemeal – частково

2. director – режисер

3. actor-manager – актор-антрепренер

4. to unionize – об’єднатися у профспілку

5. touring – гастролі

6. cohesive – цільний

II Listen to the text. Decide if the statements are true or false:

1. The profession of a costume designer emerged in the Middle Ages.

2. Before the twentieth century actors travelled with their own costumes.

3. The first union members were costume designers.

4. In 1836 costume designers were recognized as a separate specialty.

5. Film designers appeared just for making films more cohesive.

III Listen to the text again and be ready to answer the questions:

1. How did the speciality of a costume designer appear?

2. What were the reasons for film designers to emerge?

UNIT 7

THEATRICAL COSTUME

Text A

I Listen and learn the following words:

1. foundations – основи

2. revelry – веселощі

3. conventions – стилі

4. high-soled shoes – взуття на високій підошві

5. ecclesiastical – церковний

6. scenery – декорації

7. contemporary – сучасний, повсякденний

8. breastplate – нагрудний знак

9. draperies – драпіроване вбрання

10. character – персонаж

II Read and learn the following phrases:

1. character recognition – впізнавання персонажу

2. mystery plays – вистава з містичним змістом

3. historical accuracy – історична точність

4. to reflect on the stage – відображати на сцені

5. authentic costume – аутентичний костюм

III Read and translate the following text:

Theatrical costume

Western theater tradition has its foundations in the Greek celebrations honouring Dionysus, the god of wine and revelry. The traditional costume for Greek tragedy consisted of a long tunic, a stylized mask for character recognition, and a pair of high-soled shoes. All of these garments were exclusively for theatrical use. One cannot act the hero in everyday wear. Short tunics, much like those worn by ordinary citizens, were thought appropriate to comedy.

The costume conventions established by the Greeks essentially remained the same until the fall of the Roman Empire, when Western theatre disappeared for eight hundred years.

From the fifth century mystery plays, which depicted the lives of the saints, were increasingly performed both inside the church and on church grounds. Then they moved to the market squares. Costumes worn in the early religious dramas were ecclesiastical garments.

It was during the Renaissance that scenery and costume came to be even more important than the text. Costumes depicted gods, animals, and mythological creatures, as well as emotions.

Costumes for Shakespeare's plays were a mixture of various periods. Most parts were performed in contemporary dress either owned by the actor or provided by the theater. A helmet or breastplate indicated a soldier. Fairies and nymphs might wear classical draperies.

The same principles were applied to costume in the seventeenth and eighteen centuries. Most actors and especially actresses dressed as fashionably as possible. A turban indicated an Eastern character. A helmet signified a soldier. Performers provided their own wardrobe with the exception of special items provided by the theater.

The period between the 1770s and the 1870s saw a drive toward historical accuracy in costume design. Travelling became relatively easier, written reports and exhibitions increased people's knowledge of other cultures. They wanted what they saw and read about to be reflected on the stage.

Theaters used every available resource to create authentic costumes for actors. This new realistic style greatly influenced Paris and Moscow theaters.

Nowadays, theatrical costumes are designed to support the script. If realism or historicism is central to the text, the costumes will accurately reflect the clothing appropriate to the period or to the environment. Costumes for the theater have special requirements in fit, colour and effect. Garments must allow the performer's body to move easily and be well made. For example, costumes of professional actors and dancers often receive hard wear. Constant use or vigorous movement for dancers, circus clowns, and acrobats can put a strain on garments, thus requiring sturdy fabrics and specific construction. When many viewers see costumes from afar, colours or other aspects of design may be exaggerated for effect. Some colours, therefore, may be more bold or brilliant than choices for everyday dress. Such choices depend on the interpretation of the costume designer in planning the outfit for each performer's individual role and for the interaction among the performers.