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Feminist Ideologies in Postmodern Japanese Fashion: Rei Kawakubo Meets Marie Antoinette in Downtown Tokyo

Ory Bartal

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

Book chapter

In the 1970s, the modernistic social paradigm collapsed in many post-industrial countries. In Japan, it resulted in the falling apart of the homogeneous culture that hailed collectivism. Various groups began to form. In 1970s Tokyo, the Karasu-Zoku (raven tribe) emerged as a parallel to the British Punk movement. Alongside the karasu-zoku was the an-non-zoku, a young and fashionable “tribe” consisting of women who enjoyed reading the mass communicationmagazinesmagazines an-an and non-no. The idea

Fashion’s World Cities

Valerie Steele

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

Book chapter

Paris has changed, the system has changed, everything has been transformed. For the system to function, the participants have to be international, production has to be international. It’s clear that we no longer can or should be 100% French anymore.

Wearing the flag: Patriotism and Globalization

Barbara Brownie and Danny Graydon

Source: The Superhero Costume. Identity and disguise in fact and fiction 2016

Book chapter

Captain AmericaCaptain America was created as a defender of the values of the United States of America. His appearance resembles those of Olympians, for whom national allegiance becomes the defining factor in the design of their uniforms. When they inject Steve Rogers with a serum to give him super-powers, the American secret service intend that his supernatural athleticismathleticism will be used in combat, on behalf of the US Army. He is dressed in a flag-like costume, and introduced to the wor

Tartan

Jonathan Faiers

Source: Fashion Photography Archive 2015

Article

The fabric that’s never out of fashion; tartan is indelibly associated with punk and Vivienne Westwood, but its use in fashion reaches much farther back, to its peak of popularity in the nineteenth century, and forward via Alexander McQueen and on into many of today’s most memorable collections. At once traditional and revolutionary, conservative and subversive, tartan is genderless, instantly recognizable, and infinitely adaptable. Beloved as much by Japanese, European, and American designers as

‘Look At Me I’M Different!’: Identity Art And The Expectations Of Race

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

National identification is an exemplary case of how an external border is reflected into an internal limit. Of course, the first step towards the identity of the nation is defined through differences from other nations, via an external border: if I identify myself as an Englishman, I distinguish myself from the French, German, Scots, Irish, and so on. However, in the next stage, the question is raised of who among the English are ‘the real English’, the paradigm of Englishness; who are the Englis

Lolita

Kathryn A. Hardy Bernal

Source: Fashion Photography Archive 2015

Article

The Lolita fashion-based subculture, once an underground Japanese movement, is a burgeoning worldwide industry. The style, represented by women who dress in childlike clothing, emerged on the streets in the 1970s, gaining impetus within the J-rock (Japanese rock) music scene of the 1990s. The visual kei band Malice Mizer formulated their look on New Romantic glam, inspired by 1980s collaborations between Vivienne Westwood and Malcolm McLaren; fans of the guitarist, Mana, began to mimic his unique

Louis Vuitton (house)

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Men’s Blazers and Jackets of the 1970s, 1980s, and 1990s

Tracy Jennings

Source: Fashion Photography Archive 2015

Article

Men’s blazer and jacket styling in the West went through a number of iterations during the latter decades of the twentieth century. These fashion changes were often a result of prevailing economic, social, and technological conditions. The 1970s gave rise to the three-piece disco suit. A booming 1980s economy was reflected in the exaggerated shoulders of the power suit. The grunge movement countered this fashion excess. An individualistic philosophy took hold in the mid-1990s, with consumers no l

Alexandre Herchcovitch

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Anna Sui

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Helmut Lang

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

African Influences in European Fashion Design

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Article

Since the late nineteenth century, European fashion design has been lured by the exotic “otherness” of Africa as a source of creative inspiration and exotic raw materials, such as ivory and tropical woods, for use in luxury consumer goods. The more recent stylistic appropriation, since the 1970s, of African motifs, patterns, and color combinations has became increasingly prominent in European fashion and needs to be understood as part of the industry’s continual cross-cultural pursuit of innovati

Stella McCartney

Michelle Labrague

Source: Fashion Photography Archive 2015

Designer Biography

Paul Smith, Fall/Winter 2000

Michael P. Londrigan

Source: Fashion Photography Archive 2015

Article

Paul Smith is a world-renowned English designer who has created numerous collections over the years. Paul Smith has built a global empire covering women’s wear, children’s wear, accessories, and menswear. His menswear collection of fall/winter 2000 will be examined while comparing and contrasting his unique style to events in the world that were having an impact on fashion.

Introducing Japanese Fashion, Past and Present

Masafumi Monden

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

Book chapter

Culture refers to behaviour and beliefs that are learned and shared: learned so it is not ‘instinctual’ and shared so it is not individual. Sharing refers to social sharing but there is no limitation as to the boundaries of this sociality. No territorial or historical boundaries are implied as part of the definition. This Wilson, Elizabeththe ‘format’ and ‘product’ theoryunderstanding of culture is open-ended. Leaning is always ongoing as a function of changing circumstances and therefore culture

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

Masafumi Monden

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

Book chapter

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

Oscar de la Renta, Spring/Summer 1994

Lucy Moyse

Source: Fashion Photography Archive 2015

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.

Desi-Chic: The Image and Ideals of Fashion in Indian Magazines

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style 2015

Book chapter

The evolution of a distinctive visual identity within the local fashion design industry that responds to Indian tastes, traditions and crafts, along with the presence of international fashion brands in India have not only led to a shift in the sartorial landscape, they have also had an impact on the image and representation of fashion. This was evident in the discussion over the previous chapter with regard to film, television and emerging spheres of fashion blogging, and is also mirrored in prin

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

Conclusion: “Wrapping it Up”

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style 2015

Book chapter

When I say Rani Pink to you, you get it. I don’t have to explain the shade to you. Your dadi or your nani would have passed it on to you.dadi–paternal grandmother, nani–maternal grandmother. You know it consciously and unconsciously. (Garg 2013)Cited from “Raw Mango: A Conversation with Sanjay Garg.” Park Magazine, Vol. 8, 2013, “Color,” p. 31. Available from http://www.theparkhotels.com/living-magazine.html (accessed July 17, 2013).

Dress and Textiles in Transition: The Sungudi Sari Revival of Tamilnadu, India

Kala Shreen

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

Book chapter

What is sungudi? A craftsperson ties a thread around a tiny portion of fabric, knots it tightly and repeats. Once the fabric is dyed and the knots untied, the previously knotted areas will transform into tiny dots (Plate 24. Traditionally sungudi was used for cotton saris. Thousands of such dots decorate a sungudi sari; it contains 20,000 knots on average. Depending on the number of knots tied, a sungudi sari may take seven to fifteen days to make. According to the documents produced by the Gover

Yohji Yamamoto, Spring/Summer 1993

Nadya Wang

Source: Fashion Photography Archive 2015

Article

Yohji Yamamoto’s spring/summer 1993 collection was held at the construction site of the Marché des Blancs-Manteaux in Paris. As in previous seasons, Yamamoto engaged creative individuals who were not professional models to present his work. The collection was eclectic, with global inspirations, and had everything from motifs and graphic elements to checks and stripes.

‘To The Ends of The Earth’: Fashion and Ethnicity in The Vogue Fashion Shoot

Sarah Cheang

Source: Fashion Media. Past and Present 2013

Book chapter

The August 2007 issue of British Vogue contains a twenty-page fashion story with the heroic, romantic and evocative title ‘To the Ends of the Earth’. Photographed by Tim Walker in Papua New Guinea, a set of sixteen entrancing and startling pictures dramatize fashion through portraits of the model in physical and editorial juxtaposition with landscapes, forests and local tribesmen. These arresting images are deliberately set in place. They are given an explicit and expanded sense of location by wr

The Growth of Chinese Textile and Apparel Industries: Is It Just an Illustration of Modernization?

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

The textile and apparel industries are of vital importance to the Chinese economy, even though they are often regarded as “sunset industries” in developed countries such as the United States. These industries provide fabric and clothing to meet the basic needs of a population of 1.3 billion people, employ about 19 million workers,The number is reportedly over one hundred million if those employed in supporting industries, such as the cotton growers, are included. These numbers are estimates by th

What Do Changing Chinese Fashions Really Tell Us?

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

We are modern not only because we have achieved this status historically, but because we have developed consciousness of our historical depths and trajectories, as also our historical transcendence of the traditional.

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