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Manolo Blahnik

Rio Ali

Source: Fashion Photography Archive 2015

Designer Biography

Sophia Kokosalaki

Amber Jane Butchart

Source: Fashion Photography Archive 2015

Designer Biography

Monique Lhuillier

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Florals

Tessa Maffucci

Source: Fashion Photography Archive 2015

Article

Floral designs are ubiquitous in fashion. They appear reliably with each new season, spring or fall, as designers attempt to find new ways to iterate this now traditional motif. The history of floral textiles is complex. Flower designs have been intimately tied up with colonialism and the convergence of cultures of dress; however, the patterns themselves are often seen in simplistic terms as signifying femininity or pastoral innocence. Florals can translate the beauty of the natural world onto th

Ribbons and Lace: Girls, Decorative Femininity and Androgyny

Masafumi Monden

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

Book chapter

‘There’s one thing about you,’ Maudie said. ‘You always look ladylike.’JeanRhys, Voyage in the Dark (London: Penguin Books, 2000 [1934]), p. 10. ‘Oh God,’ I said, ‘who wants to look ladylike?’

Accessories

Valerie Cumming

Source: Berg Encyclopedia of World Dress and Fashion. West Europe 2010

Encyclopedia entry

There is a debate about whether accessories are “essential” or “additional to dress.” From 1800 onwards, there are relatively few new accessories; some gradually disappeared, and others became increasingly important, their roles reflecting a changing world. Many times those actually producing these goods could themselves afford only basic, practical items. Certain crafts were more suited to mechanized production—knitted goods like stockings and printed fabrics—others, like millinery, beaded bags,

Textile Art Production in Paraguay

Christina Turner

Source: Berg Encyclopedia of World Dress and Fashion. Latin America and the Caribbean 2005

Encyclopedia entry

Textiles in Paraguay have primarily a European, rather than an indigenous, heritage. There are three primary hand-sewing techniques that Paraguayans distinguish as carriers of their identity. Paraguayans are unique in being the only culturally Hispanic national population in Latin America that speaks an indigenous language, Guaraní, as their first language. The Guaraní names for these three techniques reflect this interesting paradox: ñandutí (“spiderweb,” a circular embroidered lace), aõ po’í (l

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