Мифтахова Н.Х. Учебник английского языка
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In addition to Rabanne’s work in costume design, he produced a series of
sophisticated perfumes. Calandre, launched in 1969 by the Spanish company
Puig (which bought out Paco Rabanne in 1986), has proven to be one of the
most successful contemporary fragrances. Subsequent fragrances have sold
well also. Rabanne’s perfumes, as well as his numerous licenses for other
products around the world, have made it possible for the designer to continue
his fashion experiments without suKering unduly from the low pro8t margins
of haute couture.
In 1999, Rabanne decided to put an end to haute couture activity, while the
ready-to-wear sector that he had developed since 1990 experienced new
growth, particularly with the arrival in 2000 of Rosemary Rodriguez as the
head of Rabanne’s creative studio. Rodriguez has developed several
collections in harmony with the very particular stylistic grammar of Paco
Rabanne.
On the occasion of Rabanne’s thirtieth anniversary as a designer, the 8rst
retrospective exhibition of his fash-ions was presented in 1995 at the Musie de
la Mode in Marseille, followed in 1996 by the bilingual publication of the 8rst
monograph devoted to his work.
Paco Rabanne has been involved since the late 1980s in several artistic
projects beyond the con8nes of fashion, including the production of Mira Nair’s
8lm Salaam, Bombay! The 8lm was awarded the Camera d’Or at the Festival
de Cannes in 1988.
In 1991 Rabanne published his 8rst book, Trajectoire. He has since written
several other works of re(ection on mystical subjects and practices.
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Текст 16. ПРАДА.
(из энциклопедии моды «Encyclopedia of Clothing and
Fashion»)
Prada was founded in Milan in 1913 by Mario Prada as a luxury leather-goods
8rm, but it made little impact on the world of fashion until after Miuccia Prada
took charge of her grandfather’s company in 1978. Her 8rst big success was a
black nylon backpack with a
triangular silver label. Soon her shoe and handbag designs became the focus
of a veritable cult of fashionable consumers in Europe, America, and Japan.
Miuccia Prada and her husband and business partner, Patrizio Bertelli,
maintain close control over the company.
They added a ready-to-wear line in 1989 and inaugurated the younger, slightly
less expensive Miu Miu line in 1992, followed by Prada Sport, whose iconic red
line is almost as recognized in certain circles as Nike’s swoosh symbol. A
string of shops and boutiques in Paris, New York, and San Francisco, designed
in collaboration with the architect Rem Koolhaas, became instantly famous.
Prada also engaged in a series of complex ownership maneuvers in the late
1990s, buying and selling stakes in Gucci, Fendi, and other companies and
forming a partnership with Azzedine Alana in 2000.
Prada clothes and accessories have been described as both classic and
eccentric, frumpy but hip, marked by an ambiguous techno-retro sensibility.
On the one hand,
Prada’s style is modern, drawing on northern Italian traditions of discreet
elegance and 8ne craftsmanship. On the other hand, as Miuccia Prada said in
1995, “I make ugly clothes from ugly material. Simply bad taste. But they end
up looking good anyway.” She may have been referring to that season’s “bad
taste” collection, featuring such styles as a Formica check design, which
evoked the look of 1970s polyester. Several years later she said, “I have
always thought that Prada clothes looked kind of normal, but not quite normal.
Maybe they have little twists that are disturbing, or something about them
that’s
not quite acceptable. . . . Prada is not clothing for the bourgeoisie.”
The eccentricity and intellectual purity of Miuccia Prada’s clothes appeal to
intellectuals and artists, while fashion editors are drawn to her constant
experimentalism. Prada produced very strong collections in 2003 and 2004
that reaQrm her own aesthetic sensibilities and the stature of her company.
June 27, 1999 - Fashion Terms
184
С О Д Е Р Ж А Н И Е
Предисловие………………………………………………………… 3
Basic Course………………………………………………………... 6
Lesson one. Style Images…………………….……………………. 6
Text A. 12 Steps to Style………………………. …………………. 8
Text B. Age Defying Style. ………………………………………. 10
Text C. Image-boosting advice to rock your world!..…………… 13
LANGUAGE STUDY ……………………………………………… 14
Test to Lesson One ………………………………………………….. 17
Lesson Two. A Fleeting Glimpse into Fashion …………………… 18
Text A. Fashions………….. …………………………………….. 19
Text B. Diana’s Style ………………………………….…………. 20
Text C. Giorgio Armani ………...………………………………… 21
LANGUAGE STUDY …………………………………………….. 23
Test to Lesson Two ………………………………………………… 25
Lesson Three. The Life Cycle of Fashion …………………………. 27
Text A. Diffusion of Innovations in Clothes Design ...……………. 29
Text B. Lipliner: Beauty No-No’s That Ruin Your Style ..……….. 30
Text C. Madonna …………………………………………………… 33
LANGUAGE STUDY……………………………………………….. 34
Test to Lesson Three ………………………………………………... 36
Lesson Four. What was In at Different Times – Excurses into the History of
Fashion ……………………….…………………………………….. 38
Text A. Age-appropriate Clothing …………………………………. 40
Text B. Fashion Icons .……………………………………………… 41
Text C. Jackie Kennedy: A Fashion Icon …………….…………….. 43
LANGUAGE STUDY………………………………………………. 44
Test to Lesson Four …………………………………………………. 46
Lesson Five. Fashion Shows: Glamour of High Fashion ………… 47
Text A. Fashion Shows ………………………………………… 49
Text B. How to Make a Fashion Statement in a World of ‘Vogue’ … 50
Text C. French Chic… What do we have to wear in Paris? .. 52
LANGUAGE STUDY………………………………………………….. 53
Test to Lesson Five …………………………………………………… 55
Lesson Six. Strategies of the Style: Trends in Menswear …………..… 57
Text A. Men’s Formal Wear……….…...…………………………… 59
Text B. Daytime Formal Wear ……..…………………...…………… 60
Text C. Dolce & Gabbana………..………………………………….. 61
LANGUAGE STUDY………………………………………………….. 62
Test to Lesson Six …………………………………………………… 63
Lesson Seven. Future of Fashion……………………………………… 65
Text A. Predictions about the Future of Fashion……………………… 66
Text B. High-Tech Fashion……………………..………. …………… 68
Text C. Fashions for New Lifestyles…………………………………. 69
LANGUAGE STUDY…………………………………………………… 70
Test to Lesson Seven……………………………………………………. 72
Lesson Eight. The Russian Top Designers………………………… 73
Text A. Kira Plastinina: the Young Russian Designer………………….
…………………………………………… 74 Text B. Valentin
Yudashkin – Russia’s most famous fashion
designer…………………………..……………………….…………… 75
Text C. Russia: History of Dress ………………..…………………... 77
LANGUAGE STUDY………………………………………………… 80
Test to Lesson Eight …………………………………………………… 81
Ключи к поурочным тестам ………………………………………… 83
ORAL COURSE (КУРС УСТНОЙ РЕЧИ) ………………………….. 84
Topic I. Meeting and Greeting People ………………………………… 84
Topic 2. Student’s Life ………………………………………………… 89
Topic 3. Problems of Higher Education ……………………………… 97
Topic 4. Learning Foreign Languages ………………………………… 101
Verses and Rhymes for Fun ……………………………………………. 108
Краткий грамматический справочник ………………………… … 112
§ 1. О четырех основных формах глагола ……………………….. 112
§ 2. Оборот долженствования TO BE + INFINITIVE ……………. 115
§3.Прошедшее неопределенное время ...………………………… 115
§ 4. Страдательный залог ………………………………………….. 115
§ 5. Группа продолженных времен ……………………………… 116
§ 6. Глагол TO BE ………………………………………………… 117
§ 7. Оборот долженствования TO HAVE + INFINITIVE ……… 117
§ 8. Группа перфектных времен ………………………………… 118
§ 9. Глаголы TO HAVE и TO BE ………………………………… 118
§ 10.Вспомогательный глагол TO DO …………………………… 119
§ 11.Глаголы SHALL, WILL ……………………………………… 119
§ 12.Глаголы SHOULD, WOULD ………………………………… 119
§ 13.Модальные глаголы …………………………………………… 120
§ 14.PRESENT SIMPLE и PAST SIMPLE ………………………… 121
§ 15. Краткие выводы …………………………………………… 122
§ 16. Инфинитив (INFINITIVE)………………………………… 124
§ 17. Причастия (PARTICIPLES)………………………………… 125
§ 18. Герундий (GERUND)………………………………………... 127
Сборник упражнений (Времена английского глагола) …….. 129
Тексты к аудиокурсу ……………………………………………. 154
Тексты для самостоятельной и индивидуальной работы …….. 164
Текст 1. Волокна ………………………………………………… 164
Текст 2. Фланелевая ткань ………………………..…………... 165
Текст 3. Габардин ……………………………………………….. 166
Текст 4. Льняная пряжа ……………………………………….. 167
Текст 5. Обработка льняного волокна ……………………….. 167
Текст 6. Льняная ткань всегда в моде ………………………… 168
Текст 7. Нетканые материалы …………………………………. 169
Текст 8. Нейлон ………………………………………………….. 169
Текст 9. Маленькое черное платье …………………………………. . 172
Текст 10. Карл Лагерфельд …………………………………………. 173
Текст 11. Хьюго Босс………………………………………………… 174
Текст 12. Кристиан Лакруа…………………………………………… 175
Текст 13. Валентино…………………………………………………………177
Текст 14. Леви Страус……………………………………………………….179
Текст 15. Пако Рабанн……………………………………………………….181
Текст 16. Прада……………………………………………………………….184
Содержание………………………………………………………………… 185