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Exotic Narratives in Fashion: The Impact of Motifs of Exotica on Fashion Design and Fashionable Identities

Jennifer Craik

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

In the context of exploring the prevalence of exotica in fashion, Jennifer Craik investigates the use of Indigenous Aboriginal motifs in Australian fashion and textiles. Furthermore, she argues that this occurs in a cyclical process of acclamation followed by renunciation coinciding with periodic displays of, and debates about, national identity. Increasingly, nationalism is being defined through the sophisticated blending of indigenous and ‘Australiana’ inspirations in colourful textiles, fashio

Introduction

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

I once asked my father if it became compulsory for all men to wear flared trousers, what would he do? He replied, “Go in the nuddy [nude]”. I laughed at his response, thinking he was just old fashioned. I must have been about eleven or twelve and my idea of a well-dressed man came in the form of Jimi Hendrix who reigned supreme in such pants. This was the period of revolutionary dress for the young.

Angel in the Market Place: The African-Jamaican Higgler 1880–1907

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

higgler (market trader): “A Jamaican Lady” postcardcritical draw ofLike many other African-Jamaicans featured on postcards during the late nineteenth and early twentieth century, this woman’s personal details are lost to us. There is no way of knowing her age. She could be anywhere between forty and sixty. What is suggested that if she was closer to sixty, she was an ex-slave, and if nearer to forty, then her parents were enslaved. Either way, this woman had a direct link to the pre-emancipation

“We Also Should Walk in the Newness of Life”: Individualized Harlem Style of the 1930s

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

With the visual arts of the 1920s and 1930s anchored by black peoples, we can recollect and reimagine this twentieth-century moment when Harlem was not only “in vogue”, or “on the minds” of a complacent few, but also a geo-political metaphor for modernity and an icon for an increasingly complex black diasporal presence in the world.

“All of Me”: Billie Holiday

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

Music is our witness, and our ally. The beat is the confession which recognises changes and conquers time. Then, history becomes a garment we can wear and share, and not a cloak in which to hide; and time becomes a friend.

“My Man, Let Me Pull Your Coat to Something”: Malcolm X

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

[P]eople are always speculating—why am I as I am? To understand that of any person, his whole life, from birth must be reviewed. All of our experiences fuse into our personality. Everything that ever happened to us is an ingredient.

Here: The Haunting Joy of Being in England

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

[T]he past has to be taken apart. Old themes are worn as new details.

How Muslim Women Dress in Israel

Oz Almog

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present, 2017, Berg Fashion Library

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, Berg Fashion Library

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, Berg Fashion Library

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, Berg Fashion Library

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, Berg Fashion Library

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, Berg Fashion Library

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, Fashion Photography Archive

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, Fashion Photography Archive

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, Berg Fashion Library

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, Berg Fashion Library

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.

Australia and New Zealand

Lanie Denslow

Source: World Wise. What to Know Before You Go, 2006, Fairchild Books Library

Book chapter

I Wish I’d Known

Project September

Amanda Grace Sikarskie

Source: Bloomsbury Fashion Business Cases

Level: Intermediate

Business case

Project September, a high-end social micromarketing app, allows the fashion savvy customer to model and market the very goods that they themselves have consumed, blurring the lines between consumption and marketing. To a large extent, a brand’s social ethics drives micromarketing on Project September. Brands that fail to embrace the new diversity in the cosmetics and beauty industry will likely fail to gain visibility

Cultural Appreciation or Cultural Appropriation

Celia Stall-Meadows

Source: Bloomsbury Fashion Business Cases

Level: Introductory

Business case

A fictional fashion accessories business, Reflections, has expanded its line of fashion jewelry into an uncharted area of Native American-inspired designs. The new jewelry collection, Tribal, is inspired by beautiful Native American culture and art, such as feathers, arrows, and dream catchers. Reflections’ Tribal jewelry collection generates only marginal success in sales, until a popular Hollywood celebrity is photographed wearing one of the Tribal pieces. The red-carpet runway images circulate

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