| When people felt the negative impact of the Great | | | | rose to prominence. Both were known for their |
| Depression, designers stopped experimenting because | | | | innovative designs while not shattering the |
| of the lessened demand for clothes. | | | | fundamentals of fashion. Schiaparelli became popular |
| Trends in women fashion though emphasized a | | | | with her black knitted white bow. She became known |
| romantic, womanly silhouette. The waist was brought | | | | for her exciting designs since then. Some of her |
| back to its proper position, with hemlines being dropped. | | | | noteworthy creations were the desk suit |
| Fashion emphasized on the bust, while backless | | | | complemented with drawers for pockets, and the |
| evening gowns became the norm. The female body | | | | shoe-shaped hat. She also made silk dresses colored |
| was modified to a more contemporary tone, while | | | | with flies. |
| having athletic bodies became a trend. The popularity | | | | Vionet on the other hand got her inspiration in designing |
| of having slim and toned down bodies resulted into | | | | clothes from ancient statues. She created classical |
| couturiers to manufacture what is now known as the | | | | gowns that more often than not seemed taken out of |
| sportswear. While the concept of | | | | a Greek frieze. She also manufactured dresses that |
| “ready-to-wear” was unknown then, boutiques | | | | suited the body less the unwarranted accessories, in |
| were already making clothes known as being “for | | | | turn creating a flowing and stylish line. By the time she |
| sport.” | | | | retired at the end of the decade, Vionnet had enjoyed |
| In the 1930s, Elsa Schiaparelli with Madeleine Vionnet | | | | a reputation among fashion industry movers. |