- •Unit 1 The history of arts
- •I Listen and remember the following words
- •II Read and remember the following phrases
- •III Read and translate the following text: The history of arts. Brief overview Part I
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it:
- •The History of Arts
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form
- •I Mind the following words and word-combinations:
- •II Listen to the text. Decide if the statements are true or false:
- •III Listen to the text again and be ready to answer the questions:
- •Unit 2 The history of arts
- •The history of arts. Brief overview Part II
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: The Fashion 1900-1909
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form
- •V Questions for discussion:
- •Unit 3 fashion history part I
- •I Listen and remember the following words:
- •II Read and remember the following phrases:
- •III Read and translate the following text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: World War I and after the War
- •III Make up a plan of the text.
- •IV Translate the paragraphs in italics in a written form.
- •V Questions for discussion:
- •Unit 4 fasion history part II
- •I Listen and remember the following words:
- •II Read and remember the following phrases:
- •III Read and translate the following text: Fashion evolution
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Charles Frederick Worth industrializes fashion
- •III Make up a plan of the text.
- •IV Translate the paragraphs in italics in a written form.
- •V Questions for discussion:
- •Unit 5 Principles and elements of design
- •I Listen and remember the following words:
- •II Read and remember the following phrases:
- •Principles and elements of design
- •III Answer the questions:
- •IV Complete the sentences with the words from the text:
- •IX Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea: Paul Poiret: The first designer
- •III Make up a plan of the text.
- •IV Translate the paragraph in Italics in a written form.
- •V Questions for discussion:
- •Unit 6 costume design
- •I Listen and remember the following words:
- •II Read and remember the following phrases:
- •III Read and translate the following text: The work of a designer
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it:
- •III Make up a plan of the text.
- •IV Translate the paragraphs in italics in a written form.
- •V Questions for discussion:
- •Unit 7 theatrical costume
- •III Read and translate the following text: Theatrical costume
- •IV Answer the questions
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it.
- •III Read and translate the following text. Dance costume
- •IV Make up a plan of the text.
- •V Translate the paragraph in italics in a written form.
- •VI Questions for discussion:
- •Unit 8 scenic design
- •III Read and translate the following text Scenic design
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember
- •II Read the text and define the main idea of it. Scenic makeup
- •Texts for listening
- •Leonardo da Vinci
- •The painter
- •Factors influencing fashion in the 16th century
- •First fashion publications
- •The importance of colour
- •The appearance of a costume designer profession
- •Musical-dance costumes
- •Makeup Artists
X Speak on the topic using the following words and word-combinations:
costume designer, rough sketch, accessory, creative collaboration, to provide, final design, costume challenges, performance, character, to integrate, to reflect, costume props, costume plot.
TEXT B
I Read and remember:
1. niche – ніша
2. chainmail – кольчуга
3. rivet – зáклепка
4. pliers – шипці
5. audacity – сміливість
6. “Chambre Syndicale” – франц. профспілка підприємців
7. freelance – позаштатний
8. coup – вдалий хід
9. to succumb – піддаватися
10. mauve – рожево-бузковий
II Read the text and define the main idea of it:
Paco Rabanne
‘Don’t seduce, shock’ was the motto of fashion designer Paco Rabanne. He radically broke with the past which Dior had so successfully revived. For Rabanne the future meant brand new materials.
He found his niche when he began designing plastic jewelry. His next step led to independence: in February 1966 Rabanne showed 12 ‘unwearable dresses’ made of plastic disks and in September he presented his first garments made of aluminum with leather and ostrich feather trimming.
In the 1960s his futuristic metal dresses became to show business celebrities what white satin dresses had been to the Hollywood sirens of the 1930s.
Every modern girl wore Paco Rabanne’s chainmail, which was stitched not with thread and needle but with hooks, rivets and pliers.
Paco Rabanne never gave up his experiments with unusual materials.
Pierre Cardin
Following Dior’s triumphant success with the New Look which overnight reestablished Paris as the fashion capital of the world, the city was gripped by gold fever. In 1951 Pierre Cardin showed his first collection. Since he had little starting capital, the collection was restricted to 50 coats and suits. His designs were an overwhelming success precisely because Cardin had avoided any imitation of the two most influential fashion geniuses of the period, Dior and Balenciaga.
Cardin, a marketing genius, is known as the fashion designer with the greatest number of licenses worldwide. Yet he is also one of the most innovative of couturiers. In 1958 he designed the first-ever unisex collection, which united men and women in a joint lifestyle statement.
He had the audacity to be the first couturier ever to produce a ready-made collection. As a result he was expelled by the strict “Chambre Syndicale”. But even the latter soon had to accept that nothing would stop the American ready-to-wear concept from invading the motherland of fashion, and it was swiftly named prêt-à-porter, thus allowing couturiers to choose whether they wished to use this avenue to make money – and allowing Cardin to back into the fold.
Karl Lagerfeld
The conclusions which Karl Lagerfeld drew in the 1960s from the signs of the times were quite different from those drawn by Courrèges, Cardin and others. While Lagerfeld's contemporaries saw the future in the space-age look, he put his money on the replacement of couture by ready-to-wear. And, instead of taking on the burden of his own couture house, he worked as a freelance designer.
He first found fame at Chloé where he started work in 1963, remaining there for 20 years.
In 1965 he began to design fur collections for the Fendi sisters in Rome and today he іs responsible for all their collections. However his greatest coup has been the revitalization оf the legendary Chanel style.
Emanuel Ungaro
Emanuel Ungaro began his career as an independent couturier. His early collections featured severe combinations of blazer and shorts.
He soon developed his own style which was based on a bold mix of colours and patterns. Flowers on checks or stripes with large polka dots in bright colours are typical of Ungaro, who never succumbed to the pessimistic tendencies which took hold of some other designers.
Ungaro does not sketch his designs but works directly with the fabric on the body of a model – for up to 12 hours a day, always with the inspiration of classical music.
The Italian Ferragamo group took over the running of his business in 1996, while keeping Ungaro as the undisputed creative head of the organization. He returned to his beginnings for the 1999 haute couture show when he showed a modernized version of hippie fashion: long, frilly, floral skirts with cropped tops in matte mauve and beaded, chiffon pants worn with feather-light jackets or fur-trimmed stoles.