GRAND Katie (Stylist)

Fashion in the new millennium has seen the birth of the "superstar stylist", a title for which Katie Grand is undoubtedly the poster girl. A student of Central Saint Martins in London, Grand honed her skills in the 1990s at Dazed & Confused, later becoming fashion director of style bible The Face in 1999, and launching her own magazine POP in 2000. Now Grand is in high demand for her freelance styling for fashion houses such as Louis Vuitton, Proenza Schouler and her friend Giles Deacon, alongside editorials for W, Vogue and Interview where she is contributing style director in addition to her own magazine, LOVE. Her emphasis is on strong image-led content and lyrical _ sometimes controversial _ covers, often featuring famous faces. Here Kate Moss, shot by Mert & Marcus, appears to defy gravity perched in the bathtub, semi-submerged in glistening, foaming water. 

Also look up for Deacon, Enninful, Formichetti, McGrath, Mert & Marcus, Moss

GODLEY Georgina (Designer)

An otherwise utterly plain, jersey T-shirt dress springs away from the average with the introduction of organza into the hem and neck. An experimental purist, Georgina Godley uses sculpture to introduce avant-garde shape into her work. "We are dealing with a woman who is an individual now", she told Vogue. "Fashion is so retrograde, putting people down. It's not a designer's personality you're buying, it's yours. I believe in a reappraisal of sexual roles". Her contemporary work is in contrast to the historicism explored during her partnership with Scott Crolla. Their cult shop, Crolla (opened in 1981), stocked romantic men's clothes in velvet and brocade, which matched the New Romantic mood. After parting from him in 1985, Godley developed her own line, favouring a one-to-one relationship with the client, in which her creativity could be displayed by women who relish her individual experiments. 

Also look up for Audibet, Bruce, Crolla

GOALEN Barbara (Model)

The archetypal 1950s aloof and haughty mannequin, the well-bred Goalen was chauffeur-driven to the assignments in a Rolls-Royce. Careful to protect her image, she said, "I always did high fashion and I never touched anything that wasn't high quality". The photographer Henry Clarke said, "You put the dress on Barbara and she made it sing". At one time she was almost exclusively photographed by John French and was Coffin's favourite model. She was the first British model to be sent to the Paris shows by British Vogue. At the height of her fame, she toured Australia and was mobbed in the North of England. Like many models in the 1950s, she married well _ to Lloyd's underwriter Nigel Campbell. Her hips were too slender for sample sizes, so she rarely did catwalk modelling. She only worked for five years, before retiring while still very much in demand. 

Also look up for Bettina, Clarke, Coffin, French

DE GIVENCHY Hubert (Designer)

Snap! Audrey Hepburn, playing a model, is captured in a still from the film Funny Face (1957). Her dress, a black cotton gown, is by the man who became a lifelong friend and collaborator. "It was as though I was born to wear his clothes", said Hepburn of Hubert of Givenchy. When she was first sent to his house, Givenchy was expecting the other "Miss Hepburn" _ Katharine. His disappointment gave way to adoration. He had already worked at Lelong, Piguet, Fath and Schiaparelli, before opening his couture house at the age of twenty-five. Encouraged by Balenciaga, he specialized in clothes for the new era of air travel and grand eveningwear. In 1956 Givenchy banned the press from his shows, saying, "A fashion house is a laboratory which must conserve its mystery". He retired in 1995, making way for two of the most publicity-aware designers _ John Galliano and Alexander McQueen _ to design under his name. 

Also look up for Horvat, Lelong, Pipart, Tiffany, Venet

GILBEY Tom (Designer)

This is classic Tom Gilbey. With his trademark simplicity and an almost militaristic neatness, Gilbey was an important force in menswear in the 1960s. Here, he uses traditionally masculine details. This outfit is strong, an angular example of the new wave of British tailoring. Gilbey began designing for John Michael and in 1968 opened his own shop, in London's Sackville Street. Gilbey is one of fashion's visionaries. In 1982 he launched a waistcoat collection that suited the aspirational yuppie. Around the same time, and pre-dating the transatlantic sportswear boom by fifteen years, he said, "I'm influenced by the American campus look, it's so classic and immaculate. Jeans and T-shirt, big bumper shoes, Bermuda shorts... I hate fuss. I love things to be clean, strong and aggressive". 

Also look up for Brioni, Fish, Fonticoli, Nutter, Stephen  

GIGLI Romeo (Designer)

Benedetta Barzini is photographed enjoying Romeo Gigli's extravagant coat. Gold flowers and embroidered leaves collect around the shawl collar, cuffs and hem. Gigli's childhood was saturated in art history. It gave him an appreciation of beauty, and history and travel underly his work _ playing with elements from historical costume and non-European dress. The Gigli look was, and still is, one of the most distinctive in fashion. In the 1980s, Gigli's vision had a grandeur only equalled by that of Christian Lacroix. Silk suits, with either stovepipe trousers or long, narrow skirts, were worn with shirt collars that framed the wearer's face (as here) and placed under velvet coats that enveloped the figure in luxury. The impression was similar to that created by Poiret: a decorated bloom growing from a narrow stalk. A large collection of Gigli's most representative clothes and accessories are held by the Metropolitan Museum of Art, New York. 

Also look up for Gattinoni, Iribe, Meisel, Poiret, Roversi, Vallhonrat

  

GIBSON Charles Dana (Illustrator)

Before television and movies, Gibson identified an essential character as deftly and as unforgettably as any novelist. His "Gibson Girl" was the personification of America's modern woman. Probably seen wearing the fashionable shirtwaist (a masculine-styled blouse of the early twentieth century), her S-curve figure and loosely constructed mound of hair gave shape to the new woman. Her face varied slightly, but she was the icon of twentieth-century fashion embodied in an active in such Gibson books on the middle and upper-middle classes as The Education of Mr Pipp (1899), The Americans (1900) and The Social Ladder (1902). Gibson had studied at the Art Students' League in New York and worked for late nineteenth-century magazines that required illustrations for news and stories, but ultimately he invented his own story of the fashionable, independent woman of the twentieth century.

Also look up for Von Drecoll, Paquin, Redfern