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  3. We live today indebted to McCardell, Cashin, Hawes, Wilkins, and Maxwell, an

We live today indebted to McCardell, Cashin, Hawes, Wilkins, and Maxwell, an

游客2024-03-12  22
问题     We live today indebted to McCardell, Cashin, Hawes, Wilkins, and Maxwell, and other women who liberated American fashion from the confines of Parisian design. Independence came in tying, wrapping, storing, harmonizing, and rationalizing that wardrobe. These designers established the modern dress code, letting playsuits and other activewear outfits suffice for casual clothing, allowing pants to enter the wardrobe, and prizing rationalism and versatility in dress, in contradiction to dressing for an occasion or allotment of the day. Fashion in America was logical and answerable to the will of the women who wore it. Implicitly or explicitly, American fashion addressed a democracy, whereas traditional Paris-based fashion was prescriptive and imposed on women, willing or not.
    In an earlier time, American fashion had also followed the dictates of Paris, or even copied and pirated specific French designs. Designer sportswear was not modeled on that of Europe, as "modern art" would later be; it was genuinely invented and developed in America. Its designers were not high-end with supplementary lines. The design objective and the business commitment were to sportswear, and the distinctive traits were problem-solving ingenuity and realistic lifestyle applications. Ease of care was most important; summer dresses and outfits, in particular, were chiefly cotton, readily capable of being washed and pressed at home. Clothing was simple, practical, and accessible, as the modern woman depended on no personal maid to dress her. American designers prized resourcefulness and the freedom of the women who wore the clothing.
    Many have argued that the women designers of this time were able to project their own clothing values into a new style. Of course, much of this argument in the 1930s -40s was advanced because there was little or no experience in justifying apparel (服装) on the basis of utility. If Paris was cast aside, the tradition of beauty was also to some degree slighted. Designer sportswear would have to be verified by a standard other than that of pure beauty; the emulation of a designer’s life in designer sportswear was a crude version of this relationship. The consumer was ultimately to be mentioned as well, especially by the likes of Dorothy Shaver, who could point to the sales figures at Lord & Taylor.
    Could utility alone justify the new ideas of the American designers? Fashion is often regarded as a pursuit of beauty, and some cherished fashion’s trivial relationship to the fine arts. What the designers of American sportswear proved was that fashion is a genuine design art, answering to the demanding needs of service. Of course these practical, insightful designers have determined the course of late twentieth-century fashion. They were the pioneers of gender equity, in their useful, adaptable clothing, which was both made for the masses and capable of self-expression. [br] What occurred in the design of women’s apparel in America during the 1930s -40s?
选项 A、A shift of emphasis from beauty to utility.
B、The emulation of traditional Parisian design.
C、A search for balance between tradition and novelty.
D、The involvement of more women in fashion design.
答案 A
解析 细节题。第三段第二、三、四句指出，这个观点在20世纪30年代到40年代是先进的，因为有很少或没有经验在实用的基础上来论证服装。如果把巴黎抛在一边，那美丽的传统在某种程度上也被忽视了。名牌运动装必须由单纯的美的标准以外的另一个标准来验证。由此可知， 20世纪30年代到40年代期间，美国服装设计的重点已经从美丽慢慢转向实用性，故答案为A。由第二段第一句可知，对传统巴黎时装的模仿，指的是更早的时期，而非20世纪30年代到40年代期间，故排除B项。C项原文未提及，故排除。美国现代时装有很多女设计师的参与，就像本文开头提到的，但文中并未提及20世纪30年代到40年代期间是否有女设计师的参与，故排除D项。
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