5. Answer the following questions :

1. What is this text about?

2. Why can we speak about the Britishness of British fashion? Is British fashion peculiar to itself?

3. Why has British high fashion been little supported by government and industry?

4. What is fashion?

5. What is a quintessential feature of British fashion?

6. What feature in fashion are determined by geography and climate?

7. What styles do the British fashion designers excel in?

Vocabulary to be memorized

acme – высшая точка

absorb – впитывать

adorn – украшать

antipathetic – антипатичный, внушающий отвращение

argue – спорить

arrange – располагать

art – искусство

buyer – покупатель

bust – бюст

clothing ( clothes ) – одежда

decoration – украшение

destroy – уничтожать

determine – определять

distinctive –отличительный

distinguish –различать

dipose –располагать

embellish –украшать

embodiment –воплощение

establish –устанавливать

fashion – мода

figure – фигура

flourish – процветать

form – форма

influence – влияние

inspire – вдохновлять

major – главный

mark – отмечать

marvelous – удивительный

maverik – скиталец, бродяга, диссидент

mention – упоминать

modernity – современность

prefer – предпочитать

preserve – сохранять

preoccupation – занятия ( места ) раньше (кого – либо )

produce – создавать, творить

product –создание, творение

purpose – цель

psychological психологический–

quintessential – основной

reflect – отражать

represent – представлять

resemble – иметь сходство

striking – поразительный

style – стиль

survive – сохранять

tailoring – портняжный

tradition – традиция

various – различный, разнообразный

wear – носить

wealth – богатство

Text III The Unforgivable disadvantage of being English in England

The high-fashion industry as we know it today, with seasonally presented, designer-led fashions was established in Second Empire Paris (1852-70). British-born Charles Frederick Worth and his partner Otto Bobergh have been widely credited with establishing the dominance of the designer, when they founded their fashion house in 1858. Worth conceived and imposed his own design ideas and in so doing created fashion unequivocally determined by the designer. Prior to this, highly skilled dressmakers had carried out the dictates of their clients. With great aplomb and a shrewd business head, Worth emphasized that his taste the final word.

Worth does the Empress Eugenie wear legendary rise to fame, from fabric salesman at the London department store Swan & Edgar to the couturier responsible for the sumptuous crinoline gowns by the Empress Eugenie, has been examined in depth. It is important here simply to record that Worth acquired a prestigious international clientele and attracted other designers and specialists craftspeople into the area surrounding his premises in the rue de la Paix. He established good links with the finest silk manufactures in Lyons, and this symbiotic relationship between fabric-makers and fashion designers has continued to the present day. In 1868 the Chambre Syndicale de la Couture Parisienne, still highly influential, was founded in order to co-ordinate, study and defend the economic, industrial and commercial interests of this prestigious, burgeoning industry.

From the outset, Parisian haute couturiers were the undisputed international arbiters of women’s fashion. The wealthiest European and American women purchased their clothing direct from the couture houses and the rest of fashionable society looked to Paris for stylistic guidance. This supremacy was promoted at all market levels: the most exclusive small dress shops and department stores proudly advertised that they stocked the very latest models from Paris, while others boasted of their fine copies, available at a fraction of the original price. Highly talented British designers including Redfern, Lucile and Moluneux were to follow in Worth’s footsteps, opening branches in Paris and working as part of the haute couture industry.

In contrast, the top end of the British fashion trade, based in London’s West End, was dominated by court dressmakers. The very term ‘court dressmaker’ emphasized links with the monarchy, the pinnacle of Britain’s social hierarchy. The Edwardian period witnessed the heyday of London’s social life surrounding the court. Queen Alexandra and King Edward VII, even from the days when he has the Prince of Wales, were great socialites and fashion-setters and did much to consolidate the importance of court social life.

The coterie of court dressmakers was well-versed in the minutiae of etiquette and in rigorous sartorial codes of high society. However, it was widely accepted that on the whole they copied and adapted Parisian models for an elite British clientele. The ‘season’ played a central role and continues to exert a powerful influence on British social life and domestic fashion industry, even though 1958 was the last year that he daughters of the aristocracy were formally presented to the monarch. This high-profile ceremony served to introduce the young debutante into high society and, ideally, to find her a suitable husband. From 1928 Queen Charlotte’s Birthday Ball, a charity event to raise money for the hospital named after its patron, became an essential event in the debutante’s calendar. This occasion has effectively taken over the role of the court presentation. The carefully appointed young ladies, all dressed in white. Curtsey to a huge iced cake in honour of Queen Charlotte. The Balls ceased in 1976 but were revived in 1989.