Ready-to-wear in the context of "Found object"

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⭐ Core Definition: Ready-to-wear

Ready-to-wear (RTW) – also called prêt-à-porter, or off-the-rack or off-the-peg in casual use – is the term for garments sold in finished condition in standardized sizes, as distinct from made-to-measure or bespoke clothing tailored to a particular person's frame. In other words, it is a piece of clothing that was mass produced in different sizes and sold that way instead of it being designed and sewn for one person. The term off-the-peg is sometimes used for items other than clothing, such as handbags. It is the opposite of haute couture.

Ready-to-wear has a rather different place in the spheres of fashion and classic clothing. In the fashion industry, designers produce ready-to-wear clothing, intended to be worn without significant alteration because clothing made to standard sizes fits most people. They use standard patterns, factory equipment, and faster construction techniques to keep costs low, compared to a custom-sewn version of the same item. Some fashion houses and fashion designers make mass-produced and industrially manufactured ready-to-wear lines, while others offer garments that are not unique but are produced in limited numbers.

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👉 Ready-to-wear in the context of Found object

A found object (a calque from the French objet trouvé), or found art, is art created from undisguised, but often modified, items or products that are not normally considered materials from which art is made, often because they already have a non-art function. Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning (1912). Marcel Duchamp is thought to have perfected the concept several years later when he made a series of readymades, consisting of completely unaltered everyday objects selected by Duchamp and designated as art. The most famous example is Fountain (1917), a standard urinal purchased from a hardware store and displayed on a pedestal, resting on its back. In its strictest sense the term "readymade" is applied exclusively to works produced by Marcel Duchamp, who borrowed the term from the clothing industry (French: prêt-à-porter, lit.'ready-to-wear') while living in New York, and especially to works dating from 1913 to 1921.

Found objects derive their identity as art from the designation placed upon them by the artist and from the social history that comes with the object. This may be indicated by either its anonymous wear and tear (as in collages of Kurt Schwitters) or by its recognizability as a consumer icon (as in the sculptures of Haim Steinbach). The context into which it is placed is also a highly relevant factor. The idea of dignifying commonplace objects in this way was originally a shocking challenge to the accepted distinction between what was considered art as opposed to not art. Although it may now be accepted in the art world as a viable practice, it continues to arouse questioning, as with the Tate Gallery's Turner Prize exhibition of Tracey Emin's My Bed, which consisted literally of a transposition of her unmade and disheveled bed, surrounded by shed clothing and other bedroom detritus, directly from her bedroom to the Tate. In this sense the artist gives the audience time and a stage to contemplate an object. As such, found objects can prompt philosophical reflection in the observer ranging from disgust to indifference to nostalgia to empathy.

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Ready-to-wear in the context of Clothing sizes

Clothing sizes are the sizes with which garments sold off-the-shelf are labeled. Sizing systems vary based on the country and the type of garment, such as dresses, tops, skirts, and trousers. There are three approaches:

  • Body dimensions: The label states the range of body measurements for which the product was designed. (For example: bike helmet label stating "head girth: 56–60 cm".)
  • Product dimensions: The label states characteristic dimensions of the product. (For example: jeans label stating inner leg length of the jeans in centimetres or inches (not inner leg measurement of the intended wearer).)
  • Ad hoc sizes: The label states a size number or code with no obvious relationship to any measurement. (For example: Size 12, XL.) Children's clothes sizes are sometimes described by the age of the child, or, for infants, the weight.

Traditionally, clothes have been labelled using many different ad hoc size systems, which has resulted in varying sizing methods between different manufacturers made for different countries due to changing demographics and increasing rates of obesity, a phenomenon known as vanity sizing. This results in country-specific and vendor-specific labels incurring additional costs, and can make internet or mail order difficult. Some new standards for clothing sizes being developed are therefore based on body dimensions, such as the EN 13402 "Size designation of clothes".

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Ready-to-wear in the context of A.P.C.

Atelier de Production et de Création, or A.P.C., is a French ready-to-wear luxury brand founded in 1987 by Jean Touitou in Paris.

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Ready-to-wear in the context of Hermès

Hermès International S.A. (/ɛərˈmɛz/ er-MEZ, French: [ɛʁmɛs] ), using the trade name Hermès Paris or simply Hermès, is a French luxury goods company founded in Paris in 1837, by Thierry Hermès. At the time, it specialized in the saddlery and harness maker trade, making equipment for the horse rider and their horse.

The company then branched out into many other trades, including leather goods, which is now its core business, followed by silk, ready-to-wear, watchmaking, jewellery, fashion accessories and perfumery. In 2020, the beauty division added a sixteenth business line.

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Ready-to-wear in the context of Paris Fashion Week

Paris Fashion Week (French: Semaine de la mode de Paris, commonly [la] Fashion Week) is a series of designer presentations held semi-annually in Paris, France, with spring/summer and autumn/winter events held each year. Dates are determined by the Fédération de la Haute Couture et de la Mode. Paris Fashion Week is held at venues throughout the city. It is one of the "Big Four" fashion weeks alongside New York, Milan, and London.

In addition to ready-to-wear shows, there are men's and haute couture shows; these are held semiannually for the spring/summer and autumn/winter seasons. The haute couture collections are always presented and exhibited before the ready-to-wear collections, with there being a total of a little over 100 collections each season. Also, every year, famous brands like Dior, Chanel, Louis Vuitton, Kenzo, Givenchy, and Céline host their shows in historical places such as the Carrousel du Louvre and the Grand Palais.

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Ready-to-wear in the context of Sportswear (fashion)

Sportswear, in the context of fashion, sometimes called athleisure, is a style of dress that has its roots in the athletic apparel traditionally worn by sportsmen and women, but which has since evolved to become a broad and globally recognisable genre of fashion. Its popularity stems from a combination of comfort, practicality, and a distinctive visual identity. Typical garments include hoodies, tracksuits, leggings, sweatshirts, and sneakers, often featuring prominent manufacturer branding.

The term originated in America, and at first was used to describe separate jacket and trousers worn rather than a full men's suit. Since the 1930s it referred to day and evening fashions of varying degrees of formality that demonstrate a specific relaxed approach to their design, while remaining appropriate for a wide range of social occasions. The term predated activewear (clothing designed specifically for participants in sporting pursuits), but the two terms are now often used synonymously. Although sports clothing was available from European haute couture houses and "sporty" garments were increasingly worn as everyday or informal wear, the early American sportswear designers were associated with ready-to-wear manufacturers. While most fashions in America in the early 20th century were directly copied from, or influenced heavily by Paris, American sportswear became a home-grown exception to this rule, and could be described as the American Look. Sportswear was designed to be easy to look after, with accessible fastenings that enabled a modern emancipated woman to dress herself without a maid's assistance.

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Ready-to-wear in the context of Louis Vuitton

Louis Vuitton Malletier SAS is a French luxury fashion house and company founded in 1854 by Louis Vuitton. The label's LV monogram appears on most of its products, ranging from luxury bags and leather goods to ready-to-wear, shoes, perfumes, watches, jewellery, accessories, sunglasses and books. Louis Vuitton is one of the world's leading international fashion houses. It sells its products through standalone boutiques, lease departments in high-end department stores, and through the e-commerce section of its website. Louis Vuitton merged with Moët Hennessy in 1987 to create LVMH, of which it is a subsidiary.

For six consecutive years (2006–2012), Louis Vuitton was named the world's most valuable luxury brand. Its 2012 valuation was US$25.9 billion. In 2013, the valuation of the brand was US$28.4 billion with revenue of US$9.4 billion. The company operates in 50 countries with more than 460 stores worldwide.

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Ready-to-wear in the context of Vanity sizing

Vanity sizing, or size inflation, is the phenomenon of ready-to-wear clothing of the same nominal size becoming bigger in physical size over time. This has been documented primarily in the United States and the United Kingdom. The use of US standard clothing sizes by manufacturers as the official guidelines for clothing sizes was abandoned in 1983. In the United States, although clothing size standards exist (i.e., ASTM), most companies do not use them any longer.

Size inconsistency has existed since at least 1937. In Sears' 1937 catalog, a size 14 dress had a bust size of 32 inches (81 cm). In 1967, the same bust size was a size 8. In 2011, it was a size 0. Some argue that vanity sizing is designed to satisfy wearers' wishes to appear thin and feel better about themselves. This works by adhering to the theory of compensatory self-enhancement, as vanity sizing promotes a more positive self-image of one upon seeing a smaller label.

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