Results: Text (6) Images (0)

Filtered by:

Clear filters
Sort by
Results per page
Results showing
1 - 6 of 6 (1 pages)
    Page 1 of 1
Talitha Getty

Osman Ahmed

Source: Fashion Photography Archive, 2015, Fashion Photography Archive


Talitha Dina Pol (1940–1971) was born in Bali. After moving to London in 1945, following a traumatic period spent with her birth mother in a Japanese POW camp, Talitha studied at Royal Academy of Dramatic Arts with hopes of becoming an actress. Young, beautiful, and exotic, she was courted and celebrated by London society, becoming the second wife of John Paul Getty Jnr., the son of oil tycoon Paul Getty, in 1966. She wore an all-white, mink-trimmed, hooded minidress that echoed the height of Swi

Icons of Modernity: Sixties Fashion and Youth Culture

Heike Jenss

Source: Fashioning Memory. Vintage Style and Youth Culture, 2015, Berg Fashion Library

Book chapter

One of the first media reports on mods, under the headline “Faces without Shadows” and published in Town Magazine in September 1962, provides insight into the consumer practices of these youths (see partial reprint in Rawlings 2000: 42–7). The article revolves around the fifteen-year-old Feld, MarkMark Feld (later, Marc Bolan of the band T-Rex) and his twenty-year-old friends Sugar, PeterPeter Sugar and Simmonds, MichaelMichael Simmonds living in the London neighborhood Stoke Newington. They desc

Visual Media and Dress

Stella Bruzzi and Pamela Gibson Church

Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library

Encyclopedia entry

Visual media have played an enormous role in the development of fashion in West Europe. Fashion imagery emerged within print journalism, more specifically women’s magazines, in the eighteenth and nineteenth centuries. The development of popular cinema in the first half of the twentieth century had a momentous impact on the global fashion industry, especially in the star system, the “tie-in,” and the involvement of both couturiers and ready-to-wear designers in film. From the radical changes of th

Unisex Fashion

Jo Jenkinson

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library

Encyclopedia entry

Throughout history, dress has generally been recognizable as either male or female, reflecting the biological sex categories, with specific garments and details culturally gendered as masculine or feminine. Societies have largely dictated the clothing with which men and women style themselves on this gendered basis; the deep-rooted societal perceptions that this reflects are rarely challenged. Such gender-specific detailing and construction norms are also carried into the marketing and retailing

Youthquake Fashions

Joel Lobenthal

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

Throughout the 1950s, British fashion was dominated by the Paris couture, and the long shadow it cast over London couturiers such as Norman Hartnell and Hardy Amies. British manufacturers followed the parameters laid out by the high end of fashion. But the emerging generation wanted something entirely different and entirely their own. They were out of sympathy with the mores of expensive made-to-order clothing. “The couture was for kept women,” said Barbara Hulanicki, who opened the London boutiq

Art and Dress

Peter McNeil

Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library

Encyclopedia entry

Academic art and popular dress emerge from different structural and intellectual systems. Nonetheless, fashion in the early twenty-first century often appears to be like art and art to be like fashion. Artists are viewed as the ideal collaborators with fashion designers and the fashion industry, injecting the type of cultural capital they embody into products that have become synonymous with innovation and novelty. Artists throughout the twentieth century intervened in fashion culture, their anti

Back to top
Results showing
1 - 6 of 6 (1 pages)
Page 1 of 1