Hermès oversaw the production of its scarves throughout the entire process, purchasing raw Chinese silk, spinning it into yarn, and weaving it into fabric twice as strong and heavy as most scarves available at the time. The company's scarf designers spend years creating new print patterns that are individually screen-printed. Designers can choose from over 70,000 different colors. When production first began, a dedicated factory was established in Lyon, France, the same year that Hermès celebrated its 100th anniversary. Contemporary Hermès carrés measure 90 cm × 90 cm, weigh 65 grams and are woven from the silk of 250 mulberry moth cocoons. All hems are hand-stitched. Motifs are wide-ranging, Two silk-scarf collections per year are released, along with some reprints of older designs and limited editions. And two collections per year are introduced in a Cashmere/silk blend. Since 1937, Hermès has produced over 2,000 unique designs; the horse motif is particularly famous and popular. The ubiquitous "Brides de Gala" version, introduced in 1957, has been produced more than 70,000 times. An Hermès scarf is sold somewhere in the world every 25 seconds; by the late 1970s, more than 1.1 million scarves had been sold worldwide.
By the 1960s, Pucci was thrust into greater status when Marilyn Monroe became a fan. She was photographed by George Barris in a number of Pucci's items in what would be some of her final photographs. After Monroe's death in 1962, she was interred wearing a Pucci dress.
As the decade progressed his designs were worn by everyone from actress Sophia Loren to author Jacqueline Susann to First Lady Jackie Kennedy, as well as later pop icons such as Madonna during an early 1990s period of 60s revival. Whenever the Sixties were revived in fashion, Pucci was likely to be referenced. In fashion history, especially during the period of the 1950s and 1960s, Pucci was a perfect transition example between luxurious couture and ready-to-wear in Europe and the North America
The New Look merely refined and crystallized trends in skirt shape and waistline that had been burgeoning in high fashion since the late 1930s. Dior's designs were more voluptuous than the boxy, fabric-conserving shapes of the recent World War II styles, influenced by the wartime rationing of fabric.
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