Results: Text (116) Images (0)

Filtered by:

Clear filters
Sort by
Results per page
Results showing
1 - 25 of 116 (5 pages)
    Page 1 of 5
Culture and Consumer Behavior

Brenda Sternquist and Elizabeth B. Goldsmith

Source: International Retailing, 3rd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

After studying this chapter, you should be able to:

The Theater of Fashion

Valerie Steele

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

Book chapter

Nous savons donc beaucoup de gré à mademoiselle Nathalie des sacrifices qu’elle fait pour ses costumes; de beaux habits sur de jolies femmes, rien n’est plus charmant.

Christian Dior

Lauren Bowes

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Anna Molinari

Giulia Bussinello

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Alberta Ferretti

Giulia Bussinello

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Oscar De la Renta

Amber Jane Butchart

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Black

Emma Davenport

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Historically associated with cultural symbols of sorrow, experience, drama, and abstinence, the color black has frequently been worn since the fourteenth century to mark out the wearer from others in a variety of social and economic ways. On the catwalk, black has been used by a variety of designers including John Rocha, Yves Saint Laurent, Rei Kawakubo, and Romeo Gigli. Since the 1970s, black has often been worn in the Western world to challenge and subvert cultural values. Yet, by the end of th

Ann Demeulemeester, Spring/Summer 1992

Elisa De Wyngaert

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The spring/summer collection of 1992 was Ann Demeulemeester’s first fashion show in Paris. She presented her looks alongside other young avant-garde Belgian designers, including Martin Margiela. The silhouettes of the collection featured some elements which would later become known as Demeulemeester’s signatures: feathers, a strong cut, and a kind of androgyny blended with poetic femininity. Yet these silhouettes also deviated from the monochromatic feel of her later work. Furthermore, Patti Smit

Christian Lacroix, Spring/Summer 1997

Lorynn Divita

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Lacroix will forever be known as the man who invented the high femininity look during the 1980s. His use of poufs, miniskirts, and corsets may not have been intended to start a debate, but that was the reaction, and his work even became the focus of a chapter of Susan Faludi's feminist tome Backlash. His spring/summer collection of 1997 showed his signature styles with French and ethnic influences. The rise of minimalism caused his look to fall out of favor, but his career continued as a creative

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

Marilyn Monroe

Joanne B. Eicher

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Marilyn Monroe, born Norma Jeane Mortenson, sometimes using Baker (1 June 1926–5 August 1962), began her career as a model. Signing a film contract in 1946, she played minor roles, receiving attention for her beauty, curvaceous body, and mode of dressing. With prominence, she became a sex symbol. She adeptly helped create her visual persona by learning makeup and strategic wardrobe techniques. She relied on costumers like William Travilla to help construct her image in films like Gentlemen Prefer

Véronique Branquinho

Alessandro Esculapio

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Bill Blass, Spring/Summer 1993

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This collection was a bit of a departure from Bill Blass’s previous collections, with critic Cathy Horyn noting that some of the pieces “seemed to come from out of the blue.” It took place in the designer’s showroom. The clothes were similar to what other designers were doing at the time, being feminine, blousy, and sheer. There were elements of overt sexiness, with a bubblegum pink dress edged in black lace and an ensemble of a black-and-white striped cardigan with the top buttons left open pair

Bill Blass, Spring/Summer 1995

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Bill Blass’s 1995 spring/summer collection focused on color and short hemlines, clothes that he thought were “just pretty.” The dominant color was pink—a marker of femininity. That season, fashion looked to the golden age of Hollywood, the 1930s, for inspiration and Blass was no exception. However, while other designers created clothes with tight, long satin pencil skirts that hobbled movement, he ignored that trend and instead made fun and flattering clothes with a twist. His evening clothes wer

Lolita Lempicka

Morna Laing

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Florals

Tessa Maffucci

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Floral designs are ubiquitous in fashion. They appear reliably with each new season, spring or fall, as designers attempt to find new ways to iterate this now traditional motif. The history of floral textiles is complex. Flower designs have been intimately tied up with colonialism and the convergence of cultures of dress; however, the patterns themselves are often seen in simplistic terms as signifying femininity or pastoral innocence. Florals can translate the beauty of the natural world onto th

Sarah Burton

Shonagh Marshall

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

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

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?’

Oscar de la Renta, Fall/Winter 1994

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Inky black velvets, rich scarlet, and leopard print furs: Oscar de la Renta’s fall/winter 1994 collection oozed the classic glamour that the designer had established his long-standing fashion career with, and was infused with an Orientalist fantasy aesthetic, reflecting the designer’s admiration of sumptuous Eastern designs. This collection confirmed that despite his recent appointment at Parisian House of Balmain, de la Renta’s own ready-to-wear line remained significant and relevant, where he c

Oscar de la Renta, Fall/Winter 1995

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For his fall/winter 1995 collection, Oscar de la Renta focused on simple, stylish shapes, yet crafted them with sumptuous fabrics in rich colors. Heavy usage of appliqué and beading, along with chunky costume jewelry, added the glamour and opulence that de la Renta is renowned for. As a designer who typically favored classic styles over seasonal trends, this collection marked a time in which de la Renta’s designs were remarkably aligned with the contemporary fashion mood.

Oscar de la Renta, Spring/Summer 1994

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Shown at New York Fashion Week, Oscar de la Renta’s spring/summer 1994 collection was based on sunset colors and intricate prints, with a distinct Eastern influence. With long-line, flowing cuts and sheer materials, it was made for summer weather. Together, these created an opulent yet refined and eclectic look, ideal for the woman who traveled the world in luxurious style. Long necklaces, capes, and sheer shawls added to this aesthetic of glamorous practicality.

Oscar de la Renta, Spring/Summer 1995

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Oscar de la Renta’s spring/summer 1995 collection featured an array of sherbert candy shades and styles of dress, from halter, strapless, and bandeau minidresses to full, short-sleeve A-line versions, inspired by his mentor, Cristóbal Balenciaga. Shown at New York Fashion Week, the collection also included provocative, nightwear-inspired styles and even a wedding dress. While the mix of styles was eclectic, many of the designer’s praised signature traits were apparent, which converged to form an

Carolina Herrera

Emily M. Orr

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Back to top
Results showing
1 - 25 of 116 (5 pages)
Page 1 of 5