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Kate Moss

Karen de Perthuis

Source: Fashion Photography Archive 2015

Article

Kate Moss is one of the world’s most photographed women, a blank slate for contemporary dreams and desires. With a career spanning three decades, she is a rare enduring phenomenon in an industry defined by ephemerality and a brutal quest for novelty. In the summer of 1988, she was fourteen when spotted by model agent Sarah Doukas at JFK airport—a bored teenager from the London suburb of Croydon with almond eyes, cupid-bow lips, and “God-given bone structure.” She would soon become a fashion model

Article

The omnipresent significance of the eighteenth century and the masked ball for the House of Dior found expression in the design of “Angie” for the “Masquerade and Bondage” collection, a short variation on 1760s court dress, paraphrasing the fashionable life and cruel fate of Marie Antoinette. Using the surface of the hip panels as a canvas for narrative and caricaturized embroideries, the dress becomes an epitome of storytelling through dressmaking, evoking crucial episodes of French history. Gal

Alexander McQueen for Givenchy, Fall/Winter 2000

Lydia Edwards

Source: Fashion Photography Archive 2015

Article

“I can’t be too literal with my references,” Alexander McQueen said in 2000, when asked to pinpoint the theme of a recent collection. “It’s a number of references culminating together to make one idea.” Nevertheless, with a researched family history dating back to the 1500s, McQueen always acknowledged that “Every part of my background comes from something, be it the Jacobites or the Huguenots,” and influences from Giovanni Bellini to André Courrèges can be glimpsed in his collections. The pieces

Couture Shows of the 2000s

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Article

Haute couture’s economic feasibility remained questionable throughout the 2000s, though ateliers were supported by increased patronage from Chinese, Indian, Middle Eastern and Russian clients. Hundreds of petites mains shut down their businesses, while a minority were purchased by houses. Several labels conceded their haute couture memberships; however, the Chambre Syndicale also inducted a handful of new houses and welcomed Armani Privé as a “corresponding member.” Prospective couturiers could m

Alexandre Herchcovitch

Elizabeth Kutesko

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.

Street Style: A Brief History

Brent Luvaas

Source: Fashion Photography Archive 2015

Article

Over the last couple of decades, the meaning of the term “street style,” both within and outside of the fashion industry, has shifted profoundly from a description of the urban subcultural styles that emerged out of “the street” to those ordinary—but still stylish—forms of dress worn by “real people” in their everyday lives, to, finally, just another genre of fashion photography that captures the looks of fashion insiders outside runway shows. This article provides a brief history of the concept

Christian Dior Ready-to-Wear, Spring/Summer 2000

Hayley-Jane Mazières

Source: Fashion Photography Archive 2015

Article

When John Galliano was appointed by Bernard Arnault as the creative director at the French fashion house of Givenchy in 1995, he became the first British designer to lead an established Parisian brand. In fall 1996, he set the bar higher when he became responsible for Christian Dior’s haute couture, accessories, and ready-to-wear lines. Instantly remarked on with his graduate collection, “Les Incroyables,” presented in 1984 at London’s college of Central Saint Martins, John Galliano had been favo

Jazz Style on the Catwalk, 1970s–2000s

Alphonso D. McClendon

Source: Fashion Photography Archive 2015

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

Swimwear on the Catwalk, 1980–2000

Ciara Phipps

Source: Fashion Photography Archive 2015

Article

This article will discuss the key styles, trends, and designers of women’s swimwear on the catwalk through the 1980s, 1990s, and early 2000s. It will discuss the impact of body image and the associated attitudes toward the body on the development and design of swimwear. The influence of Brazilian swimwear infiltrated Europe and America in the 1970s. The appearance of the tanga on the beaches of Rio de Janeiro, alongside the design of the thong by Gernreich in 1974, set in motion the body-baring s

Valentino Couture, Fall/Winter 2000

Rosily Roberts

Source: Fashion Photography Archive 2015

Article

In 2000, Valentino celebrated forty years in the fashion industry with a series of events and a special display of his previous designs. This collection, created in the midst of this period of self-reflection and celebration, is a witness to that. There are clear references among the garments to previous designs and the fashions of the previous century, which Valentino looks to for inspiration. His fall/winter 2000 designs are slimmer and more revealing than those of the 1980s, displaying more of

Calvin Klein Collection, Calvin Klein, Spring/Summer 2000

Linda Welters

Source: Fashion Photography Archive 2015

Article

Calvin Klein’s spring/summer 2000 menswear collection displayed all of the features that the New York designer had become known for during his illustrious career. Klein’s collection featured minimalist styles in luxurious, neutral-colored fabrics with a hint of sexuality. This collection was shown at a pivotal time in the company’s history, when Klein and his business partner Barry Schwartz were trying to sell the company, which had retail sales of $5 billion. Klein himself had overseen the desig

Reinvention and Renaissance: 1980s–2010

Joy Spanabel Emery

Source: A History of the Paper Pattern Industry. The Home Dressmaking Fashion Revolution 2014

Book chapter

The 1980s witnessed a burst of computer technological. The technology was incorporated in pattern companies’ business practices in manufacturing and marketing procedures. By 1991, when restricted commercial use of the Internet was lifted, pattern companies embraced it to rapidly market their designs. Companies began to use computer applications to trim costs, to improve inventory control, and to boost productivity. For example, Simplicity used an application to streamline procedures for processi

Introduction

Joy Spanabel Emery

Source: A History of the Paper Pattern Industry. The Home Dressmaking Fashion Revolution 2014

Book chapter

When Western clothing began to reveal the shape of the body in the twelfth century, cloth needed to be cut into shapes and the shapes became more complex in each century, thus requiring guides or patterns to form appropriate shapes to fit the body. The paper pattern ultimately became that guide; however, as Frieda Sorber observed in the exhibition catalog Patterns from the MoMu in Antwerp, “The history of the paper pattern is almost as elusive as the ephemeral nature of the object itself” (Heaven

Şule Yüksel Şenler: An Early Style Icon of Urban Islamic Fashion in Turkey

Rustem Ertug Altinay

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

The formative years of the Republic of Turkey were characterized by a series of social and legal reforms implemented under the leadership of Mustafa Kemal Atatürk in order to construct a secular (albeit implicitly Sunni Muslim), modern, Western nation-state with an authentic Turkish essence. In Turkey’s modernization and nation-building program, women were imagined as the builders of a new life, ‘a modern way of living both in the private and the public spaces’ (Göle 1997: 51). They were expected

Covering Up on the Prairies: Perceptions of Muslim Identity, Multiculturalism and Security in Canada

A. Brenda Anderson and F. Volker Greifenhagen

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

The Canadian mediaOur analysis is restricted to the English-language media and does not include French Canadian publications. tend to portray headcovering as a practice that is forced on women; one can never assume that it is the women’s free choice.For example, ‘The majority of women wearing face coverings are not doing so because of free will; they are doing so because some Neanderthal husband or cleric has told them it is necessary’ (Martinuk 2011; see also Bramham 2010; Kay 2010). According t

‘I Love My Prophet’: Religious Taste, Consumption and Distinction in Berlin

Synnøve Bendixsen

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

The majority of mosque associations and prayer rooms in Berlin were established by the so-called first-generation migrants who arrived as guest workers in Germany in the late 1960s and early 1970s. These religious organizations and places are mostly divided along ethno-national lines in terms of their participants, language of instruction and religious references. In contrast, the religious youth organization MJD was established in 1994 by eight young Muslims with various ethnic and national back

Miss Headscarf: Islamic Fashion and the Danish Media

Connie Carøe Christiansen

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

Whilst cultural commentators tended to downplay the aesthetic potential of the headscarf, contestants were generally more sensitive to its potential both as an item of fashion and self-cultivation. They were also conscious of the need to challenge perceptions of Muslim women through their appearance. In several of the Danish newspaper articles which featured the contest, young Muslim women in Denmark were given the opportunity to speak and to present another angle on the headscarf to that usually

Closet Tales from a Turkish Cultural Center in the ‘Petro Metro’, Houston, Texas

Maria Curtis

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

The Turquoise Center, or the Turkish Cultural Center as it is commonly called, consists of the Raindrop Turkish House and the Istanbul Conference Center (Figure 7.2). It reaches out to Turkish Americans, American converts and anyone interested in learning about Turkey. Raindrop Turkish House estimates Turks constitute 6,000 of Houston’s 250,000 Muslims. Whereas some of them came decades ago and have lived mainly secular lifestyles, younger practising women have often come to Houston with a well-d

1944–2011: Postwar Revivalism and Transorientalism

Adam Geczy

Source: Fashion and Orientalism. Dress, Textiles and Culture from the 17th to the 21st Century 2013

Book chapter

To call the toga or the mandarin’s gown ‘chic’ is to suggest a process of change which barely existed in ancient Rome or China; the clothes of the beefeater of the samurai are eminently respectable, precisely because they are not up to date; the tarboosh was never ‘all the go’ for it has never gone.

Perspectives on Muslim Dress in Poland: A Tatar View

Katarzyna Górak-Sosnowska and Michał Łyszczarz

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

Numbering around 3,000–5,000 people, Tatars constitute one of the smallest ethnic groups in Poland. Centuries of living in a mainstream Polish and Catholic society and being isolated from any other Tatar or Muslim population resulted in their losing a lot of their cultural heritage. However, it was not so much the pressure from the outside world as the willingness of Tatars to integrate, or even assimilate, that has informed Tatar clothing choices. Historically, soon after reaching Lithuania and

Transnational Networks of Veiling-fashion between Turkey and Western Europe

Banu Gökarıksel and Anna Secor

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

The Turkish veiling-fashion industry, while paralleling many of the broader trends in apparel production in Turkey, nonetheless has a unique profile. In the autumn of 2008, we conducted a detailed survey with 174 veiling-fashion firms (that is, firms with 10 per cent or more of their production in Islamic dress for women), which we identified through the membership lists of textile associations, advertising and industry fairs. We estimate that there are a total of 200 to 225 such firms in the cou

Hijab on the Shop Floor: Muslims in Fashion Retail in Britain

Reina Lewis

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

UK employment law has shifted in recent years from equal opportunities legislation which outlawed discrimination on the grounds of race and ethnicity to new policies concerned more broadly with diversity. In 2003, the UK Employment Equality (Religion or Belief) Regulations brought the United Kingdom in line with the European Employment Equality Directive of 2000, extending legal protection to cover discrimination ‘on the grounds of perceived as well as actual religion or belief’.

Burqinis, Bikinis and Bodies: Encounters in Public Pools in Italy and Sweden

Pia Karlsson Minganti

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

The burqini is often met with resistance. Muslim women are considered to cover themselves too much. Their habits differ from ours, whether in Sweden and Italy or elsewhere in Europe. One day I experienced how this taken-for-granted assumption on European homogeneity is challenged. During a stay in Italy, I had decided to go swimming at a public swimming bath. While in the shower, washing myself before going into the pool, I noticed an information panel on the wall. It stated the regulations, incl

Fashion and Its Discontents: The Aesthetics of Covering in the Netherlands

Annelies Moors

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

A convenient starting point to discuss the fashion-Islam nexus is the eight-page article ‘Hip with the Headscarf’. Appearing in 1999 in the weekend magazine of an upscale Dutch daily, Volkskrant Magazine, this article started with the observation that ‘more and more women with headscarves wear fashionable styles of dress and lots of make-up’ (Jungschleger and Riemersma 1999). Next to portraying a number of young women wearing such fashionable styles, it also presented the points of view of ‘expe

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