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Feminist Ideologies in Postmodern Japanese Fashion: Rei Kawakubo Meets Marie Antoinette in Downtown Tokyo

Ory Bartal

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present 2017

Book chapter

In the 1970s, the modernistic social paradigm collapsed in many post-industrial countries. In Japan, it resulted in the falling apart of the homogeneous culture that hailed collectivism. Various groups began to form. In 1970s Tokyo, the Karasu-Zoku (raven tribe) emerged as a parallel to the British Punk movement. Alongside the karasu-zoku was the an-non-zoku, a young and fashionable “tribe” consisting of women who enjoyed reading the mass communicationmagazinesmagazines an-an and non-no. The idea

Superheroes and the fashion of being unfashionable

Barbara Brownie and Danny Graydon

Source: The Superhero Costume. Identity and disguise in fact and fiction 2016

Book chapter

Those superhero costumes that remain most static over time are largely symbolic. When costumes are utilitarian, as with Iron Man (character)Iron Man’s suit, extreme transformation is justifiable as a technological development. By contrast, the costumes of Superman (character)Superman and Wonder WomanWonder Woman, which do little to enhance their performance, remain relatively consistent. Such garments function through stylistic or, following Barthes, RolandBarthes, linguistic expression, more tha

Daniel Hechter

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Designer Biography

Prada

Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography

Valentino

Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography

Hermès

Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography

Fashion Journalism and the Catwalk

Julie Bradford

Source: Fashion Photography Archive 2015

Article

The second half of the twentieth century may go down as a golden age for the fashion press covering the collections. As ready-to-wear shows multiplied and fashion became part of popular culture—but before live-streaming and social media meant that everyone could see collections instantly—journalists were in a uniquely privileged position to convey news of this exciting new world to a burgeoning audience. This article will investigate how integral the press was to the development of fashion shows

Nino Cerruti

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

Jasper Conran

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Victor Victoria

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Emanuel Ungaro

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

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

Michiko Koshino

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Kostas Murkudis

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Luxury

Jonathan Faiers

Source: Fashion Photography Archive 2015

Article

Luxury and fashion today are increasingly uttered in the same breath, and while fashion certainly does not have to be luxurious, the term fashion adds a significance and meaning to everyday clothing that elevates it above its chief utilitarian functions of providing protection, warmth, and modesty. The combination luxury fashion, however, implies cost, exclusivity, indulgence, and excess, and is typically understood as being constructed from the finest materials, involving a high level of craftsm

Gloves ‘of the Very Thin Sort’: Gifting Limerick Gloves in the Late Eighteenth and Early Nineteenth Centuries

Liza Foley

Source: Dress History. New Directions in Theory and Practice 2015

Book chapter

Although leather was essential for the production of a wide range of eighteenth-century objects, including gloves, very little consideration has been given to the significance of the materiality of leather itself. As historian Giorgio Riello has shown, leather was a scarce material in pre-Industrial England. ‘Confined to the natural world and to a stable cattle asset’ (2008: 77), its production largely depended on the meat market, which, in the case of sheep, and to a greater extent cattle, accou

Red or Dead, Spring/Summer 1995

Amelia Francis

Source: Fashion Photography Archive 2015

Article

The Red or Dead spring/summer 1995 ready-to-wear collection presents fashion pieces with a distinct moral statement: designer Wayne Hemmingway’s disgust at the practice of Western tourists exploiting the Far Eastern sex trade. This issue was particularly pertinent in the cultural context of the time. While this instance of a designer using his work to highlight cultural, ethical, and political dilemmas is by no means the first or last of its kind, the nature of the issue at hand, and the way it w

Josephus Melchior Thimister

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Haute Couture in Paris, 1990s

Tony Glenville

Source: Fashion Photography Archive 2015

Article

The beginnings of haute couture are generally accepted as being with Charles Frederick Worth in 1858; during the intervening decades, the rise and fall of the business of made-to-measure clothes in the salons of Paris has been a subject of endless discussion and debate. Flourishing in the early years of the twentieth century, and kept alive throughout the occupation of Paris during World War II, it was rejuvenated by Christian Dior in 1947. Haute couture was threatened by the rise of ready-to-wea

Book chapter

Using legacies left to them by their mother Emma, and with financial help from their father, Norman Hartnell and his sister Phyllis opened a couture house on a small scale at 10 Bruton Street, Mayfair in 1923. By 1934 Hartnell had become a very successful and wealthy couture fashion designer, and the firm moved to much larger premises at 26 Bruton Street, employing up to 500 staff and producing thousands of couture garments a year by 1939. A close study of reviews of his fashion collections in th

Couture Shows of the 2000s

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Article

Haute couture’s economic feasibility remained questionable throughout the 2000s, though ateliers were supported by increased patronage from Chinese, Indian, Middle Eastern and Russian clients. Hundreds of petites mains shut down their businesses, while a minority were purchased by houses. Several labels conceded their haute couture memberships; however, the Chambre Syndicale also inducted a handful of new houses and welcomed Armani Privé as a “corresponding member.” Prospective couturiers could m

Louis Vuitton (house)

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Monique Lhuillier

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

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

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