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Makeup on the Catwalk from the 1970s to 2000

Geraldine Biddle-Perry

Source: Fashion Photography Archive 2015

Article

This article is an exploratory history within a history of the catwalk since the 1970s. It examines the centrality of makeup to shifting systems and structures of catwalk performance and spectacle, but it is not a trend-by-trend analysis of cosmetic practices and products. Rather, the aim is to examine catwalk makeup as a generative force within the wider transformation of fashion image as commodity and cultural form in the latter decades of the twentieth century.

Seeing in the light—“sun”glasses, modern glamor, cool, and celebrity (1920s–present)

Vanessa Brown

Source: Cool Shades. The History and Meaning of Sunglasses 2015

Book chapter

Today, a more general sense that sunglasses protect our eyes from sunlight dominates. After all, the name finally settled on for all kinds of motor goggles, protective spectacles, autoglasses, and so on was (and is) sunglasses, conjuring up countless images of those bikini-clad women and casual, white linen-clad men basking in the glow of their own attractiveness, their sunglasses bouncing back that gold-colored light of happiness and success. Smiling or not, these men and women are embodiments o

Less is Less: Formlessness

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

formlessnessWell, concerning civility or public morality, you can now see what’s happening in art. For any art exhibition in London, for example, to be effective, it must be something disgusting: show some dead fish or the excrement of cows. At one exhibition, my god, they showed a video of a colonoscopy. Today, more and more, the cultural-economic apparatus itself has to incite stronger and more shocking effects and products. These are the recent trends in the arts. But the thing is that transgr

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

Carven

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Boy’s Elegance: A Liminality of Boyish Charm and Old-World Suavity

Masafumi Monden

Source: Japanese Fashion Cultures. Dress and gender in contemporary Japan 2015

Book chapter

T-shirts with voluminous scarves are now in store . . . the big scarf looks lovely!Milkboy Staff’s Blog, 2013, available at http://ameblo.jp/mb-staff/page-67.html#main [accessed 7 October 2013]. The texts are translated by Masafumi Monden.

Lost in A Gaze: Young Men and Fashion in Contemporary Japan

Masafumi Monden

Source: Japanese Fashion Cultures. Dress and gender in contemporary Japan 2015

Book chapter

‘Do you understand muslins, sir?’JaneAusten, Northanger Abbey (London: Penguin Books, 1996 [1818]), p. 22.

Linda Evangelista

Laura Peach

Source: Fashion Photography Archive 2015

Article

Supermodel Linda Evangelista was one of the most-seen faces in fashion, gracing over 600 magazine covers. Born in Ontario, Canada, Evangelista began modeling as a teenager. In the 1980s, she began working with photographer Peter Lindbergh, and her relationship with him transformed her into a supermodel. Evangelista was most known for the short haircut that shot her modeling career into the stratosphere, launching her as a supermodel. Although many photographs of Evangelista in the 1990s show her

Gwen Stefani

Laura Peach

Source: Fashion Photography Archive 2015

Article

As the lead singer for the rock band No Doubt, Gwen Stefani became a fashion and cultural icon in the late 1990s, following the release of the 1995 record Tragic Kingdom, which sold sixteen million copies. With signature ruby-red lips and platinum blonde hair, Stefani became iconic for her look. In the early 1990s, she often wore midriff-baring tops, and frequently appropriated symbolic ethnic fashions such as Indian bindi or mehndi-painted hands. Stefani and her band are from Orange County, Cali

Desi-Chic: The Image and Ideals of Fashion in Indian Magazines

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style 2015

Book chapter

The evolution of a distinctive visual identity within the local fashion design industry that responds to Indian tastes, traditions and crafts, along with the presence of international fashion brands in India have not only led to a shift in the sartorial landscape, they have also had an impact on the image and representation of fashion. This was evident in the discussion over the previous chapter with regard to film, television and emerging spheres of fashion blogging, and is also mirrored in prin

Viktor & Rolf

Aimee Scott

Source: Fashion Photography Archive 2015

Designer Biography

Hair from the 1970s to 2000

Shari Sims

Source: Fashion Photography Archive 2015

Article

A hairstyle can be thought of as a woman’s ultimate accessory, subject to changing whims and changing fashions. On the catwalk, hairstyles are often collaborations between fashion designers and multitalented hairstylists, who envision their collaborations as artistic creations rather than mere expressions of style. From the 1970s on, as images of fashion spread more and more rapidly via newspapers, magazines, TV, and— eventually—the Internet, hairstyling options ranged from the attention-getting

Paco Rabanne

Daphne Stylianou

Source: Fashion Photography Archive 2015

Designer Biography

Exhibiting The Body, Dress, and Time in Museums: A Historical Perspective

Anne-Sofie Hjemdahl

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

The headless mannequins are so filled with character that one can easily imagine the missing faces with their hairstyles and hats.

Class and Gender in A Museum Collection: Female Skiwear

Marianne Larsson

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

Urban middle-class women have been active in open-air activities and sports since the end of the nineteenth century. When men could easily wear a used woolen suit, women had to challenge the fashion of corseted waists and full-length skirts, as well as the conventions that excluded them from physical exercise in public and outside. In this study, I want to show how women’s desire for outdoor life has influenced their ski clothing according to new social and cultural patterns. With a focus on fema

Gender Considerations in Fashion History Exhibitions

Julia Petrov

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

It was because of the connections between the worlds of economy and history that historical fashion entered and was interpreted in museums. Indeed, one of the first suggestions for a British museum of costume came from a satire on the consumerist tendencies of fashion-mad women. In an 1847Punch article titled “Hints for the British Museum Commission,” the anonymous author suggested that rather than natural history specimens, examples of fashion might induce “the softer sex to find attractions in

Locating the Real: America Ferrera, Fashion, Ethnicity and Authenticity

Helen Warner

Source: Fashion on Television. Identity and Celebrity Culture 2014

Book chapter

There was Rachel in Friends, there was Carrie in SATC, then there was Ugly Betty.

Costume and the Body

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume 2014

Book chapter

The difference between a costume designer and fashion designer? The boutiques, they can just provide you with a salwar kurta, but not a good fit. For a film you require to be perfect. If you have a defect on the shoulders, if you have a defect on your arm, if you have a defect on your waist or hips, it is the costume designer who has to work on that and see how you are looking. Whatever defect is there in your body has to be removed.

Advertising Men’s Underwear

Shaun Cole

Source: Fashion Media. Past and Present 2013

Book chapter

Pity the poor underwear manufacturer. His product is usually small. The variety of shapes in which his ware is sold is extremely limited, and respectable society is at best reluctant to see the product too explicitly shown … About the best the maker can hope for is to seek a way for the person modeling his latest creation to do it in some eye-catching manner—without exceeding the limits of current convention.

Fashion’s Digital Body: Seeing and Feeling in Fashion Interactives

Eugenie Shinkle

Source: Fashion Media. Past and Present 2013

Book chapter

For many years, the photograph has been fashion’s primary media form. Over the past decade, however, the dissemination of fashion has grown to encompass much more than still images: it now includes films, podcasts, Web sites, sound works, online magazines and other forms—all increasingly articulated around virtual bodies and located in virtual spaces. These days, the launch of a collection by a major fashion house is accompanied by a cross-platform media experience: ‘streamed as a YouTube runway

Fashion Modelling, Blink Technologies and New Imaging Regimes

Elizabeth Wissinger

Source: Fashion Media. Past and Present 2013

Book chapter

The imaging regime dominated by the Internet has changed many things. In a world now punctuated by pop-ups, pings and tweets, we relate to images differently. Images dance at the margins of our vision whether we are at work or at play. With the dawn of this imaging regime in the late 1980s and early 1990s, attention spans have been overwhelmed, pathways of suggestion have proliferated and the volatility of markets has reached a rapid boil.

Caught on Camera: The Fashioned Body and The Criminal Body

Nilgin Yusuf

Source: Fashion Media. Past and Present 2013

Book chapter

Fashion. noun; a popular or the latest style of clothing, hair decoration or behaviour *the production and marketing of new styles of clothing and cosmetics *a manner of doing something.

Introduction, Rationale, Context

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Fashion is the medicament that will console for the phenomenon of forgetting on a collective scale.

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