The cosmetics - paints, a make-up, grindings - mattered not smaller, than food and drink. The first collection of cosmetic recipes known to us made by the queen Cleopatra also belongs to the period of Ancient Egypt. As it is fashionable to use cosmetics undoubtedly also beautiful Nefertiti knew, on whose bust the artist carefully removed the trimmed brought eyebrows, and also the dark line extremely fashionable in those days extending a section of eyes. Besides a pencil for eyebrows, at Egyptians lipstick, nail varnishes, hair-dyes, fragrant water and other attributes of a cosmetic arsenal were fashionable.
Haute couture is a sample, but not a standard. Géralde Vatle speaks so: "I do not want that the collection of the House of Haute Couture was perceived as something settled, obligatory - "only this way, and not differently". The woman has to collect the collection itself. Each woman has to understand fabrics, flowers which "are intended" only for her. This statement does not deny usefulness of work of the couturier. But I am sure that the woman of any age, a constitution and physical advantages can "make" herself independently".
Force of art is grandiose. Its influence on social life of society is improbable. Much more, than we think. Art can be both the benefit for the person and the evil. Art is one of the most active levers on human emotions. Emotions do not happen neutral. They can be only or on advantage, or to the detriment.
The talent of the fashion designer unites them in a whole high tailor's art. All history of clothes is at the same time and history of emergence of tailor's art - one of the most ancient types of crafts.
On channels of sensory perception art gets into our consciousness. Clean sensory perception, subconsciousness, and the consciousness will dry, as a pond without springs. Clean figurative thinking and a figurative chuvstvovaniye and people will not manage even to smile and not that to talk with each other.
The aspiration to create the beautiful accompanied art of the artist and a sculpture throughout centuries, and the aspiration to decorate with works of art the dwelling and itself accompanied life and life of all people - and poor and rich.
It is possible to tell that the history of the European suit of the XIX century begins with revolutionary events in France of the end of the XVIII century, the French bourgeois revolution, having overthrown feudalism, paved the way for development of capitalism, the New era was characteristic rapid development of society, economic recovery, a number of discoveries, new rate of life and sharp social contradictions that caused searches of the new means of expression reflecting thoughts and tastes of various sectors of society. The French bourgeois revolution formally destroyed a class inequality and in clothes. In the XIX century the leading role in fashions passed to a women's suit. The men's suit could differ only in quality of fabric, a linen whiteness. To be allocated with brightness of clothes or abundance of jewelry was considered for men as a bad form. Women of the XIX century gradually become as if advertizing - an exhibition of welfare of the husband, a symbol of prosperity of its affairs.
The Renaissance - the critical period in spiritual and cultural development of countries of Western Europe. Brightest and before all lines of modern times were shown in Italy in the XIV century. Later in France, Spain. All these changes could not but concern and female destinies. In Renaissance the new ideal of beauty singing of the person, harmony of his body and spirit is created.
What is fine? Very beautiful. And what such beauty? In the nature is a pleasing or surprising combination of forms and paints. And in art? If "according to Chernyshevsky", the beauty is the truth. Whether but all understand beauty "on - to Chernyshevsky"? I am afraid that is not present. Much more often the beauty in art is understood, how the image of "beautiful". Thus, the beautiful portrait of the woman is a portrait of the beautiful woman.
All of us got used to clothes as to own body, apparently, that it was always, at all times. But the clothes appeared not at once. To it conducted development of the earth and mankind. The first dress code arose when the person for the first time connected two skins round the body, having fixed them a branch. And when it decorated these skins with cockleshells and applied on it spots with juice of any plant - there was an art of creation of clothes.