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Romeo Gigli

Rio Ali

Source: Fashion Photography Archive 2015

Designer Biography

Camouflage on the Catwalk

Ariel Beaujot

Source: Fashion Photography Archive 2015

Article

The camouflage pattern that is so ubiquitous in Western clothing styles was developed to hide machinery during World War I; it only became a pattern for clothing for troops in World War II. “Camo” is key for war because it helps items blend into the background and it disrupts the shape of forms. Largely because of Army Surplus Stores, camo became a pattern used in street fashion in the 1960s, 1970s, and 1980s. The meaning of camo in this period varied from antiwar protest to a reconnection with n

Futurism

Fruzsina Bekefi

Source: Fashion Photography Archive 2015

Article

This article examines futurism in fashion in the twentieth century and it will focus on the work of designers between 1970 and 2000. It characterizes the theme, its meaning, and relevance during different eras by charting its progression from the fashions promoted by Italian futurists to the utopian designs of the space age. It also explores how contemporary designers have interpreted futuristic trends. Futuristic fashion is shown to intimately reflect on the conditions of existence in years to c

Kurt Cobain

José Blanco F.

Source: Fashion Photography Archive 2015

Article

Kurt Cobain, the lead singer of Nirvana, was born on 20 February 1967 in Aberdeen in the state of Washington. He became the salient figure in grunge music, a style that developed in the Pacific Northwest of the United States in the middle of the 1980s and achieved global popularity in the early 1990s. Grunge is a style of alternative rock based on accented percussion, heavy electric guitar riffs, electronic distortion, and loud—often howling—vocals. Nirvana, formed in 1988, became one of the most

Adam Ant

José Blanco F.

Source: Fashion Photography Archive 2015

Article

In the early 1980s, pop musicians embraced historicism in their performance attire. Adam and the Ants, a new wave band based in London, donned clothing inspired by historic military outfits, nineteenth-century dandies, and pirates. They were among the recognized leaders of the New Romantics movement, a London youth subculture known for its taste for eccentric fashion. The band was formed in 1977 and achieved fame with a streak of successful albums, particularly Kings of the Wild Frontier (1980) a

Arabella Pollen

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Siouxsie Sioux

Fiona Corbridge

Source: Fashion Photography Archive 2015

Article

The Medusa-like Siouxsie Sioux, who fronted her own band, Siouxsie and the Banshees, is closely identified with 1970s British punk and the post-punk era. Gleefully subverting convention and with an inescapably dark aesthetic, forbidden worlds of sex and fetishism were crossed with theatrical display in a wardrobe that was crowned by the graphic beauty of a pale face with exaggerated kohl eyes, red lips, and savage spikes of dark hair. Fashion has continued to embrace the theme of subversion and m

Stephen Sprouse, Fall/Winter 1988

Lorynn Divita

Source: Fashion Photography Archive 2015

Article

Stephen Sprouse was a pioneer in merging street style and high fashion. During his early career at Halston, he was drawn to the downtown New York punk scene. Working with Keith Haring, Jean-Michel Basquiat, and Andy Warhol, his fall/winter collection of 1988 had all of the hallmarks of a Sprouse collection, with Day-Glo fabrics, sheath dresses, and bold graffiti prints. It was also Sprouse’s last collection for a decade. Stephen’s career flourished again at the end of his life thanks to his famou

Yves Saint Laurent, Spring/Summer 1988 Haute Couture

Lorynn Divita

Source: Fashion Photography Archive 2015

Article

Throughout his career, Yves Saint Laurent famously drew inspiration from all of the fine arts, including painting, opera, the ballet, literature, poetry, and the works of Shakespeare. The influence of various painters on Saint Laurent’s creations dates back to his famous fall/winter 1965 “Mondrian Poliakoff” collection. His spring/summer 1988 collection, a tribute to cubism and impressionism and the work of Georges Braque and Vincent Van Gogh, was a natural fit into his oeuvre, with jackets embro

“58% Don’t Want Pershing” T-Shirt, Katherine Hamnett, 1984

Jessica Draper

Source: Fashion Photography Archive 2015

Article

Fashion designer Katherine Hamnett has cleverly employed fashion as a vessel to carry a political message from early in her career, including the infamous T-shirt “58% Don’t Want Pershing,” in which she was photographed meeting the British prime minister, Margaret Thatcher, in 1984. Concealing the shirt under a jacket and revealing it at the last moment was a masterstroke of publicity, both for Hamnett’s brand and her wider concerns. Hamnett has continued her political activism through her fashio

Video Art And Videophilia

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

From the beginning, video art was understood as anti-establishment. It can lay claim to a unique origin: unlike other visual arts media, it was forged in the crucible of contemporary, rather than modern, classical or ancient, art. It had no tradition so was not beholden to it. It had no canon so could start from scratch in response to its immediate circumstances. It had no critical discourse so was not accountable to it. It promised to democratize the production of images. Video art emerged at th

Jean Paul Gaultier Menswear, Fall/Winter 1989

Tony Glenville

Source: Fashion Photography Archive 2015

Article

It is firstly important to put Gaultier within the context of his times. From the first catwalk show he was considered an “enfant terrible” yet at the same time a superb craftsman, and a designer who acknowledged the history and heritage of French fashion. His view of the world was from Paris and however much time he spent time in London and declared his admiration for London club culture and youthful attitudes to style, he remains a designer whose reference points span Madame Grès to Barbès Roch

Chanel Haute Couture, Karl Lagerfeld, Spring/Summer 1983

Michelle Honig

Source: Fashion Photography Archive 2015

Article

In 1983, twelve years after Gabrielle Chanel died, the Chanel brand was given new life by Karl Lagerfeld’s debut Chanel collection. His first couture collection was highly anticipated, but was met with mixed reviews. Some believed it was a good first effort that honored Chanel’s legacy, while others believed that the Chanel house should not have been revived because no one could replace her. Lagerfeld kept the silhouettes and classic styles that Chanel popularized in the 1920s and 1930s, but adde

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1984

Michelle Honig

Source: Fashion Photography Archive 2015

Article

Shown at the Palais Garnier in Paris, home of the national opera, this fashion show was the most lavish and over-the-top fashion event in Paris at the time and began Karl Lagerfeld’s tradition of showmanship and set design. As with Karl’s first Chanel collection, this collection was panned for its deviation from Chanel’s trademark of easy comfort, with the classic Chanel suit made in a fitted silhouette that outlined the derrière. But it was also praised by others for updating Chanel’s image from

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1985

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection continued the development of Lagerfeld’s Chanel. Beaded looks were made to look like intricate tapestries and the hems of skirts were either floor-length or well above the knee, a deviation from Chanel’s strict rule of creating skirts 2 in. (5 cm) below the knee, no matter the fashion. The final bridal look was a white satin miniskirt suit. Two-tone, matronly pumps were a Chanel signature; the black stilettos in the collection underscored the younger, sexier direction of the house

Chanel Haute Couture, Karl Lagerfeld, Spring/Summer 1987

Michelle Honig

Source: Fashion Photography Archive 2015

Article

Chanel’s spring/summer 1987 haute couture collection was shown in the École Nationale Supérieure des Beaux-Arts in Paris, where a student demonstration outside the venue required there to be tight security. On the stage, a fake statue of the Winged Victory was clothed in Chanel and holding a quilted bag. Critics derided the bustle-inspired “parabola” line and peplum hems that “obscured the real fashion originality” and “made the models look a bit like roosters.” Despite the criticism, the empire

Bill Blass, Spring/Summer 1984

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was all about simplicity, which led Nina Hyde at the Washington Post to comment, “Blass’s clothes have never been more simple, less contrived.” The hems were short because Blass believed that his couture customers had the money to keep their body in great shape. There were bra-like tops under conservative suits for day, and evening gowns in silk charmeuse draped in silk chiffon. Because of the simplicity of the clothes, the models’ hair was more extreme. Critics commended Blass’s

Bill Blass, Spring/Summer 1988

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was inspired by Matisse paintings that Bill Blass saw while at the National Gallery in Washington. Shown at the Parsons School of Design in New York, the clothes were short and full of froufrou due to the influence of “the sugar daddy of bonbon chic” and designer of the moment Christian Lacroix, and his short, little-girl styles. Hems were well above the knees, which concerned retailers servicing working women needing office-appropriate clothes. Even though critics liked his use o

Bill Blass, Fall/Winter 1997

Michelle Honig

Source: Fashion Photography Archive 2015

Article

Shown in the tents at Bryant Park, New York, Bill Blass’s fall/winter 1997 collection did not have any one particular theme. Instead, he designed simple, classic clothes encompassing a range of styles and looks. There were hints of the 1980s, a decade that other designers—such as Oscar de la Renta—looked to for inspiration for their own fall collections. There were animal prints—ranging from giraffe to python—that glorified the animal kingdom, cubist-patterned velvet jackets over wool pants, and

Men’s Blazers and Jackets of the 1970s, 1980s, and 1990s

Tracy Jennings

Source: Fashion Photography Archive 2015

Article

Men’s blazer and jacket styling in the West went through a number of iterations during the latter decades of the twentieth century. These fashion changes were often a result of prevailing economic, social, and technological conditions. The 1970s gave rise to the three-piece disco suit. A booming 1980s economy was reflected in the exaggerated shoulders of the power suit. The grunge movement countered this fashion excess. An individualistic philosophy took hold in the mid-1990s, with consumers no l

Women’s Blazers and Jackets of the 1970s, 1980s, and 1990s

Tracy Jennings

Source: Fashion Photography Archive 2015

Article

Women’s blazer and jacket styling in the West went through a number of iterations during the latter decades of the twentieth century. These fashion changes were often a result of prevailing economic, social, and technological conditions. The 1970s gave rise to disco. A booming 1980s economy was reflected in the exaggerated shoulders of the power suit. The grunge movement countered this fashion excess. An individualistic philosophy took hold in the mid-1990s, with consumers no longer feeling compe

Kim Gordon

Stephanie Kramer

Source: Fashion Photography Archive 2015

Article

As the sole female member of the pioneering New York alternative rock band, Sonic Youth, Kim Gordon’s personal style emerged out of her desire to perform on the same physical level as her male band mates, while simultaneously conveying her unique female perspective. Upon forming Sonic Youth in 1981 with musician and future husband Thurston Moore, Gordon’s style transformed into a preppy-girl-meets-tomboy fashion aesthetic. Countless designers, ranging from Marc Jacobs to Kate and Laura Mulleavy o

Ann Demeulemeester

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Isaac Mizrahi

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Stephen Sprouse

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

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