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How Muslim Women Dress in Israel

Oz Almog

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

Book chapter

Islamic/Muslim dressIn order to understand fully Muslim female dress in Israel, some basic concepts will be clarified here. Islam, like most other religions, regulates the behavior of its believers.Linda B. Arthur ed., “Introduction,” Religion, Dress and the Body, Oxford and NY: Berg, 1999, p. 1. Like other faiths, its legal code lays down rules regarding the related fields of clothing and sexuality.Steele, Valerie, Fashion and Eroticism, Ideals of Feminine Beauty from the Victorian Era to the Ja

Traje De Crioula: Representing Nineteenth-Century Afro-Brazilian Dress

Aline T. and Monteiro Damgaard

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

Book chapter

This chapter examines representations of Afro-Brazilian dress from nineteenth-century Brazil with the aim of examining the traje de crioula’s origin, formation and influence. The research includes comparative analysis of a broad range of nineteenth-century visual representations and written descriptions alongside analysis of surviving garments currently held in museum collections, and their subsequent interpretation and display. To present a case study for this chapter, a sample of four images is

Exoticism At The Brink: Contemporary Chinese And Aboriginal Art

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

For a better understanding of this conundrum, it is useful to digress briefly using another analogy from the fashion industry proper. At the same time as Aboriginal art was ‘born’ in the 1970s, Parisian couture began to experience an extraordinary change with the entry of new designers: Takada, KenzoKenzo, Rei Kawakubo, ReiKawakubo (Comme des Garçons), Issey Miyake, IsseyMiyake, Yamomoto, YohjiYohji Yamamoto and Hanae Mori, HanaeMori are the most successful of these, now hailed as bringing about

Inside-Out: Outsider Artists Go Inside

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

The term ‘Outsider Art’ was coined in 1972 (a year after the ‘birth’ of Contemporary Aboriginal, Aboriginal artAboriginal art) by the English art critic Roger Cardinal, RogerCardinal as an umbrella term to describe the art produced by those not associated with, admitted to or educated by the art scene, denoting usually the insane, but also the parochial ingenue. ‘Outsider Art’ also incorporates the ‘Art BrutArt Brut’ of French postwar artist Jean Dubuffet, JeanDubuffet, and folk art as part of it

Gendered Identities, Ideologies and Cultural Difference

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation 2015

Book chapter

sheet music coversfunctions ofperformersmarketing song titlesmusic production systemmusic industrymass-marketsmarketingby performerscommercialization, of jazzPrior to the 1920s dominance of phonograph records and radio, a dominant American aesthetic was disseminated into households via illustrated sheet music covers. These booklets contained descriptive cover art, music, lyrics, dance instructions and photographs, publicityphotographs of performers that stimulated popular interest in songwriters,

Beyond The Gardenia: Billie Holiday

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation 2015

Book chapter

Holiday, Billieinfluence of Hollywoodstyleof Billie HolidayHoliday, Billiedress/style ofOn April 7, 1915, Eleanora Fagan, who would later become known as Billie Holiday, was born in Philadelphia to Sadie, a single mother. This simple event did not foreshadow the star that would suddenly shine bright and burn out within a few decades. In Baltimore, Fagan’s Holiday, Billieearly yearsearly years included a laboring mother, an absent father, truancy, rape by a neighbor and time at an institution for

Jazz Style on the Catwalk, 1970s–2000s

Alphonso D. McClendon

Source: Fashion Photography Archive 2015

Article

From 1970 to 2000, the influence of jazz culture on the women’s catwalk is pinpointed by the confluence of masculine and feminine details. Designers, during the three decades, interpreted the tuxedo and double-breasted suit that were standardized uniforms of early jazz musicians. Particularly for African American performers, these formal garments bolstered access to mainstream culture, social and economic equality, celebrity, and musical distinction. These utilities are paramount to its exhibitio

Donna Summer

Amanda M. B. Pajak

Source: Fashion Photography Archive 2015

Article

Donna Summer (1948–2012), born LaDonna Adrian Gaines of Boston, Massachusetts, was titled the “Queen of Disco” during her lifetime and beyond. Predominantly active as a singer-performer during the disco era of the mid- to late 1970s, Summer’s vocal talent and performance aesthetic defined an era of music in addition to an evolution of fashion tied to the hedonistic nightlife of New York City and Los Angeles that was synonymous with the excess and extravagance of the decade. During live performanc

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.

Oromo Dress

Peri M. Klemm

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

Encyclopedia entry

This focus on the dress of Oromo women and men from the early 1800s to the early twenty-first century includes changes in clothing from leather to cotton to an array of new textiles and symbols. It also touches on the most common jewelry types, hairstyles, and scarification/tattooing practices among the Arsi, Afran Qallo, Wallo, and Karrayuu Oromo.

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