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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  20
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 contribution did the women designers make to American fashion?
选项 A、They made some improvements on the traditional Parisian design.
B、They formulated a dress code with distinctive American features.
C、They came up with a brandnew set of design procedures.
D、They made originality a top priority in their fashion design.
答案 B
解析 细节题。第一段第一句指出，我们今天能充分享受人生是受惠于麦卡德尔、卡辛、霍伊斯、威尔金斯和马克斯韦尔，以及其他把美国时尚从巴黎设计的范围中解放出来的女性。第一段第三句指出，这些设计师们建立了现代的着装规范。由此可知，女性设计师创立了具有独特美国特色的现代的着装规范，故答案为B。第一段最后一句指出，美国的时尚表达了一种民主，而传统的巴黎时尚则是对女性的规范和强加，不管其愿意与否，这说明美国时尚已经独立出来，而并非是对传统巴黎时尚的改进，故排除A项。C、D项原文均未提及，故排除。
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