Versailles”. Participants of the event were both French and American designers who
had completely different author concepts of fashion. The fathers of bourgeois chic and
luxury, the representatives of the haute couture, Yves Saint Laurent, Hubert de
Givenchy, Christian Dior, Pierre Cardin, and Emanuel Ungaro performed on one
fashion runway with pret-a-porter fans from America, including Oscar de la Renta,
Stephen Burrows, Anne Klein, Bill Blass, and Halston. American fashion has thus been
able to declare itself in Europe and find supporters there. The show was attended by
700 people, including the Princess of Monaco Grace Kelly, actresses Elizabeth Taylor
and Liza Minnelli, who performed the famous song Cabaret on this show, artist Andy
Warhol, and others. The event has become a landmark. It is believed among fashion
analysts that the “battle” was won by the practical and democratic collections of
Americans, which further influenced the development of fashion in Europe and the
costume of the last quarter of the 20th century as a whole [8].
It is well known that the history of fashion of the 20th century experienced a
significant conceptual turn and shift of emphasis every decade. The 1960s became a
decade of increasing competition and a fundamental change in the fashion trends of
Europe’s leading fashion houses. Because of this, the format of representations has
changed: demonstration based on the principle of “a costume on a person”, which in
the first half of the 20th century replaced demonstration on the principle of “a costume
as such”, has become a demonstration of “a person in a costume” [1]. This trend
increased in the 1970s in the context of changes in social foundations and the
popularization of mass culture and pret-a-porter. The 1980s became the embodiment
of innovations, protest youth currents and the emergence of fashion designers from
different parts of the world on the leading fashion runways of the Fashion Weeks.
In the 1990s, in the era of the birth of mass communications and the formation of
media space, the concept of “a person in a costume” representations got the maximum
expression in such a phenomenon as “supermodels”. Fashion houses spent
considerable sums of money to engage in their shows supermodels, who at times were
more popular than the designers themselves. The sex-glamour-status mix is believed
to have become the new standard of representations that Gucci, Versace and other
known brands have been actively using. During the shows, the special effects were
already actively used, first of all, with the help of light through which a kind of
navigation was carried out and attention was drawn from one model to another.
A significant figure in the art of representations of a fashionable costume in the
1990s was the Belgian designer Martin Margiela. While the shows traditionally took
place in specially equipped halls, museums, theatres, for the demonstration of his own
collection the designer took all invited to one of the residential areas in the suburbs of
Paris and held an improvised show right in the middle of a playground: without a
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