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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

Fashion and Feminism

Henriette Dahan-Kalev and Shoshana-Rose Marzel

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

Book chapter

civil rightsgenderDuring the French Revolution, dress became an important issue: one of the ways in which revolutionaries’ values were to be obtained and symbolized was through the adoption of class-less styles of clothing, which expressed the ideals of Fraternity, Liberty, and Equality.

Fashion Apparel Women’s, Men’s, Children’s, and Teen’s

Elaine Stone and Sheryl A. Farnan

Source: In Fashion, 3rd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

Of necessity, the women’s, men’s, children’s, and teens’ fashion industry exists in a constant state of change, reacting on an ongoing basis to the consumer’s tastes and styles, to an increasingly global economy, and to new technology. It is an industry that truly thrives on change and novelty.

Body Types and Size Charts

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Vivienne Westwood, “On Liberty,” Fall/Winter 1994

Lydia Edwards

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

“My job, more than anything, is to idealize women,” Vivienne Westwood has said of her work, including the fall/winter collection “On Liberty,” which premiered in Paris in 1994. Her appropriation of historic styles is well known, but in this collection a reinvention of the bustle, the nineteenth-century skirt support that accented a woman’s behind and allowed for elaborate skirt drapery, is more fluid than similar iterations have been. Westwood’s stark wire cage from 1990, for instance, was not so

Vivienne Westwood’s Elevated Ghillie Shoes from 1993

Hayley-Jane Edwards-Dujardin

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For her fall/winter 1993–1994 “Anglomania” collection, Vivienne Westwood perched her models on extremely elevated platform shoes. Inspired, as most of her collection, by Scottish traditional garments, the platform shoes reinterpreted ancestral ghillies worn for folkloric dances. However, apart from the lacing structure, the shoes were more reminiscent of fetish footwear—an aesthetic typical of Vivienne Westwood’s taste for combining conservatism with subversiveness. When the British designer rein

Underwear from the 1970s to 2000

Hayley-Jane Edwards-Dujardin

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

From the twentieth century, underwear has acquired a functional and an aesthetic purpose, sometimes serving as a second skin for comfort and at other times as an exoskeleton, reshaping the body’s natural form. It conceals or audaciously reveals women’s intimacy and thus nourishes erotic fantasies in a flirtatious game of “nice meets naughty.” Underwear originally had a function of protection, hygiene, and support; it embodied the existing social boundaries between the hidden intimacy and the publ

Helen Storey

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Pam Hogg

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Sonja Nuttall

Elizabeth Kutesko

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Ghost London

Morna Laing

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Luciano Soprani

Nanna Marie Lund

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Marc Jacobs, Spring/Summer 1995

Hayley-Jane Mazières

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

When the American designer Marc Jacobs appeared on New York’s fashion scene, in 1986, after graduating from the Parsons School of Design, he promptly attracted the attention of the fashion press, which praised his playful yet sophisticated streetwear. During his appointment as Perry Ellis’s creative director from 1988, he dared to launch a groundbreaking grunge collection in 1992—the press loved it; Perry Ellis executives loathed it—and he was publicly suspended from his assignment. Nonetheless,

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

Glacé Wonderland: Cuteness, Sexuality and Young Women

Masafumi Monden

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

Book chapter

kawaii (cute) aestheticswomen andporn-chicKawase, Tomoko (Tommy)‘Bloomin’!’kawaii (cute) aestheticsinfantile kindKawaii is like love of humanity, you need a certain mental capacity, strength and experiences to appreciate the fragile.Hitomi, quoted and explained by Kenji of Milkboy during a Skype interview, 29 November 2013. I thank Kenji for sharing this important story.

Ribbons and Lace: Girls, Decorative Femininity and Androgyny

Masafumi Monden

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

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?’

An Ivy Boy and A Preppy Girl: Style Import-Export

Masafumi Monden

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

Book chapter

Taking great care of appearance is the first step of every fashion.

Concluding Japanese Fashion Cultures, Change and Continuity

Masafumi Monden

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

Book chapter

For both men and women, whenever sex is an issue, so also is looking and being seen. Every woman who has ever been accosted on the street knows the temporary desire to be invisible, just as every person of either sex has posed in public, hoping to be regarded as attractive by his or her peers.ValerieSteele, Fashion and Eroticism: Ideals of Feminine Beauty from the Victorian Era to the Jazz Age (New York and Oxford: Oxford University Press, 1985), p. 247.

Pattern Grading Fundamentals

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

Pattern grading is the process of systematically increasing and decreasing the dimensions of a master-size pattern into a range of sizes for production. Due to cost constraints, one sample-size pattern is developed and fitted, and then other sizes are graded from this master pattern. The purpose of the grading process is to achieve a good fit in each size of the garment without changing the style sense (proportion and balance) of the garment design from the master-size pattern (Solinger, 1988). H

Grading the Basic Pattern Blocks

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

How to grade the basic block patterns is the most important skill in pattern grading. Because flat patternmaking is based on the use and manipulation of the basic sloper to create other apparel designs, learning to grade the basic block patterns will enable the designer to grade any other design that he or she creates. Learning where the grade is distributed in the basic pattern is imperative to grading other designs. The principles and concepts learned in this chapter will be applied in all of t

Sleeve/Bodice Combinations

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

The bodice and sleeve patterns may be combined to produce new styles referred to as sleeve/bodice combinations. Although these styles are actually developed by combining two basic patterns, new grade rules are required when the pattern orientation is different from the basic blocks. For this chapter, new grade rules will be developed for all of the cardinal points. Some manufacturers may develop a new grade rule table for each new style, even though many of the new grade rules will be the same or

Design Variations and Effects of Grading on Garment Style

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By this point the reader should be familiar with the grade rules necessary to grade basic garment designs and how a grade is distributed through a pattern. A solid foundation in patternmaking is essential for a pattern grader. It is possible: if a patternmaker can grade a basic sloper, then he or she would be able to develop a garment pattern of any size by using a sloper of the selected size. This is the basic principle by which a patternmaker can use a computer-assisted drawing (CAD) system to

Grading with multiple x,y Axes

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

Grading manually or by computer requires the movement of cardinal points in x and y directions on a Cartesian graph. The Cartesian graph was introduced in Chapter 3, where a single set of x,y axes was discussed. The procedure for moving the pattern along the axes is illustrated in Chapter 3, and grading examples of the basic blocks and other basic styles are given in Chapters 5, 6, and 7.

Grading Stretch Garments

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

Grading garments made of stretch fabrics differs from grading garments made of rigid fabrics when the garments utilize the stretch as part of their fit and function. Garments in this category are actually cut smaller than the body dimensions for the size they are designed to fit. Swimwear, leotards, and unitards are examples of garments that fall into this category (Figure 9.1). These garments are referred to as stretch garments in this text. Fabrics that have enough stretch and recovery utilize

Grading from Garment Specifications

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

As explained in the Business of Fashion (Burns, Mullet, & Bryant, 2011), an apparel line can be created and produced in many different ways. Many retailers design their own private labels and store brands but hire a contractor to manufacture the goods. The retailers have product development teams who create the apparel line for their target customers and develop garment specifications. The garment specifications are then provided to the contractor, who sources the goods, develops the pattern, gra

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