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The Birth of Paris Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History 3rd Edition 2017

Book chapter

Le travail des modes est un art: art chéri, triomphant, qui dans ce siècle, a reçu des honneurs, des distinctions. Cet art entre dans le palais des Rois, [et] y reçoit un accueil flatteur.

The Impact of Foreign Fashion Brands

M. Angela Jansen

Source: Moroccan Fashion. Design, tradition and modernity 2015

Book chapter

What is a fashion industry? The way Welters and Lillethun (2001: xxix) describe it, a fashion industry requires several components such as: a market economy that provides wealth; adequate technology to make apparelapparel items; a distribution system that disseminates ideas about fashion as well as the products themselves; and a system democratizationof fashionof fashion innovation and adoption. Also, they say, a fashion industry is dependent on a rapidly changing infrastructure influenced by art

Darzi to “Designer”: Crafting Couture and High-Fashion for India

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style 2015

Book chapter

Over the past 20 years, the field of fashion in India has changed significantly. We see a shift from an industry that solely supported Western markets through exports, to an fashion design, Indianas a cultural activityfashion design, Indianindustry’s estimate worth (in 2012)fashion design, Indiankey distinguishing factorsfashion weeks, IndianFDCI (Fashion Design Council of India)industry that has begun to take Indian consumers, their tastes and their potential market base into consideration. Indi

‘You Bring The Body, We’ve Got The Clothes’: Publicity For Tailors

Paul Jobling

Source: Advertising Menswear. Masculinity and Fashion in the British Media since 1945 2014

Book chapter

The People and Places of Costume Production

Clare M. Wilkinson-Weber

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

Book chapter

Cultural fields are vulnerable to the effects of time in that no field can be expected to remain the same, even as its products and its rationale appear consistent. The essential framework of costume production in Mumbai has remained the same for nearly one hundred years, including its institutional figures (on-set costumers, or dressmen) and local economic contingencies (the vast number and versatility of tailors in the city). But any conversation with retired personnel brings to light the chang

Fashion Designers, Seamstresses, and Tailors

Cynthia Amnéus

Source: Berg Encyclopedia of World Dress and Fashion. The United States and Canada 2010

Encyclopedia entry

Throughout the nineteenth century, North American fashion followed the dictates of French design. American dressmakers and tailors looked to Paris for the newest silhouettes and adapted them to the American lifestyle. It was not until the 1930s that independent fashion designers emerged and rejected the idea that all fashion must be inspired by Paris. These early designers created a unique “American look” that was predicated on comfort. This design tended to be more casual, with an air of sophist

Migrant Workers, Production, and Fashion

Sandra Klopper and >Fiona Rankin-Smith

Source: Berg Encyclopedia of World Dress and Fashion. Africa 2010

Encyclopedia entry

South Africa’s migrant labor system first began in the 1850s when African men from rural communities flocked to the newly discovered diamond and gold fields on the Witwatersrand in search of work. Originally miners brought their own clothing to work in the mines, primarily shorts. Eventually the mining companies, to protect their human resources, decided it was in their best interest to provide rubber boots, coveralls, and hard hats to protect miners working in a very dangerous occupation. By the

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