Following the Classical Greek Drape throughout the Ages.

Ancient Greece

The Classical costume, introduced by the Ancient Greeks and later followed by the Romans, consisted of a simple, rectangular piece of cloth, woven in varying lengths according to its intended use – for a tunic or a cloak- and was worn by both sexes.

• The Ionic tunic was called Chiton and

• The Doric tunic was called Peplos

These Tunics were always fluid and live, never shaped or cut and they were worn around the body fastened by pins, introducing the first appearance of ‘the drape’.

The Greeks were attracted to simple, sharp, elementary forms very much in opposition to the sumptuous, over decorated textiles of the East and they transported into their costume the dominant ideas of their architecture.

The artistic imagination of the Greeks was used to achieve the large number of draped arrangements using the same, basic, piece of cloth.

Often the chiton was wide enough to allow for sleeves that were fastened along the upper arms with pins or buttons.

Despite popular imagination and media depictions of all-white clothing, elaborate design and bright colors were favored.

Roman Costume

In Roman times the Tunica was worn as an undergarment covered by the Toga, a rounded, draped cloak, similar to the Hellenic Chiton.

At the time of her marriage, the Roman woman donned the stola, a long, sleeveless tunic, frequently if not always suspended at the shoulders from short straps, which was worn on top of the under tunic.

The Toga became a symbol of status and power introducing a band of purple woven into the hem and therefore creating a variety of intricate, elaborate ceremonial garments.

The Toga in the later years of the Roman Empire, became extremely wide and complicated so it was difficult to drape oneself in it without assistance.

Quite a difference from the versatile early Greek cloak.

Byzantine Costume

In Byzantine times we can see the draperies preserved but mainly on the outer garment called the Dalmatica.

The introduction of the use of silk and the influence of the Near Eastern sumptuous, colorful fabrics resulted in a style that is until today carried by the Greek Orthodox Clergy.

The Byzantine robes, with small alterations, were the base of the costume worn in Europe throughout the Middle ages.

Renaissance

In the 14c we see the rise of Humanism, where man becomes more independent and the rise of the visual and literary arts.

In ladies costume we

see the appearance of the high waisted dresses, made out of opulent, silk fabrics, with full, draped skirts and quite fitted, low cut tops.

Directoire & Empire costume

The Classical drape

reappears a few centuries later in the period following the French revolution from 1789 to 1815.

The end of the Reign of Terror created an atmosphere dominated by the need to forget and the desire to enjoy life.

The Classically inspired feminine costume was in perfect harmony with the prevailing moral freedom of the Directoire period

Women at that time were passionate for things Antique and wore long gowns of muslin, deeply décolleté, cut under the bust.

This Neo Classical influence released women from their corsets and petticoats and was quite a change after the elaborate court costumes of the Marie Antoinette era.

Art Nouveau & Mariano Fortuny

1871-1949

Mariano Fortuny y Madrazo was one of the most creative minds of his time. He was born in Spain, established in Venice and was renowned for his Art Nouveau textiles that included fine-pleated silk gowns and lustrous silk velvet, printed in Renaissance designs.

In 1907, Fortuny created his most spectacular Art Nouveau dress:

the “Delphos robe” in pleated silk, was made famous by theatrical legends Isadora Duncan and Sarah Bernhardt.

Designed in a revolutionary shape, inspired by ancient Grecian gown, the long dresses were simple and loose, artistic and functional and their borders were usually finished with Venetian colored glass beads.

Fortuny’s soft, uncorseted dress was dramatically different from the tailored, highly structured fashions of the era and for this innovation he is considered a great artist in the Fashion world.

Paul Poiret – The Orientalist

1880-1944

Paul Poiret's major contribution to fashion was his development of an approach to dressmaking centered on draping, a radical departure from the tailoring and pattern-making of the past.

Poiret was influenced by antique and regional dress, and favored clothing cut along straight lines and constructed of rectangles.

Liberating women of the corset, established Paul Poiret as among the most important and influential designers to this day.

Madeleine Vionnet - The Architect

1876 – 1975

Called "the architect among dressmakers“, Vionnet is best-known today for her elegant Grecian-style dresses and for introducing the bias cut to the fashion world.

Vionnet's use of the bias cut to create a sleek, flattering, body-skimming look would help revolutionize women's clothing and carry her to the top of the fashion world.

Mme Gres - The Sculptress

Mme Gres continued to repeat throughout her life: “I wanted to be a sculptor. For me, it’s the same thing to work the fabric or the stone”

She remained true to her personal vision, ignoring outside influences and sustained such an aesthetic integrity and clarity for more than half a century, while carrying on a business of international proportion.

The Grecian style has inspired quite a few contemporary Fashion designers

Balenciaga Claire Mc Cardell

Mary Mc Fadden Romeo Gigli

Chanel Donna Karan

Issey Miyake Comme des Garcons

Alexander Mc Queen

Gucci

Helmut Lang 3.1 Philip Lim

Mathew Williamson Sophia Kokosalaki

• Concluding this presentation, one needs to notice that the Classical Greek influence in Fashion can be summed up in these terms:

• Freedom of movement • Lack of construction • Minimalistic aesthetics • Fluidity and

• Timelessness.

• If I may add a personal note, being Greek is extremely difficult right now! • We are caught in this turmoil, being blamed

for the economic decline of Europe, called ‘lazy’, ‘black sheep’, ‘corrupt’ and ‘pariahs’.

• It was therefore quite therapeutic working on this presentation, re examining our glorified past and hoping that the higher ideals of ethos, honor, dignity, pride, camaraderie of ancient Greece could be revived, to help us overcome this crisis.