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Consumer safety and product labeling guidance

Deanna Clark-Esposito

Source: A Practical Guide to Fashion Law and Compliance, 2018, Fairchild Books Library

Book chapter

The laws governing mandatory label disclosures have three broad and collective labellinggoalsgoals:

Leather and Fur

Elaine Stone and Sheryl A. Farnan

Source: The Dynamics of Fashion, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Making leather is a highly specialized and time-consuming operation. Because of the time involved, the leather industry must anticipate and predict trends far in advance of other textile suppliers. Leather producers typically decide what production method, textures, finishes, and colors they will use eight to sixteen months before a leather reaches apparel and accessory manufacturers. As a result, those in other fashion industries often look to the leather industry for leadership, particularly in

“We Also Should Walk in the Newness of Life”: Individualized Harlem Style of the 1930s

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

With the visual arts of the 1920s and 1930s anchored by black peoples, we can recollect and reimagine this twentieth-century moment when Harlem was not only “in vogue”, or “on the minds” of a complacent few, but also a geo-political metaphor for modernity and an icon for an increasingly complex black diasporal presence in the world.

Surface-Specific Techniques

Anette Fischer and Kiran Gobin

Source: Construction for Fashion Design, 2nd Edition, 2017, Fairchild Books Library

Book chapter

Felted woven fabrics are shrunk and compressed with heat, moisture and friction to produce a dense appearance. Some of the better-known felted fabrics are loden, melton or fleece. The edges of a felted fabric do not fray, so seams can be left unfinished. It is most common to use a plain stitched seam with top-stitching or a welt seam for light- to medium-weight felted fabric. But there are many more techniques to choose from, such as the following:

Rendering Concepts

Steven Stipelman

Source: Illustrating Fashion. Concept to Creation, 4th Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

For the purposes of this book, we will group the fabrics into four categories, which include: (1) wool and other textured fabrics; (2) shiny fabrics; (3) sheers; and (4) prints. To help you understand these breakdowns and categories, let's take a look at each one.

Textiles: Fibers and Fabrics

Elaine Stone and Sheryl A. Farnan

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

Book chapter + STUDIO

Fashion and the materials from which they are made are inseparable. Have you ever bought a fashion product simply because you loved the feel of it? Perhaps it was rough and coarse or silky and smooth. Maybe it was incredibly soft to the touch. If so, then you, like almost everyone else, have responded to a fabric rather than to the style or color of a fashion product.

Leather and Fur

Elaine Stone and Sheryl A. Farnan

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

Book chapter + STUDIO

Prehistoric people discovered that the animals they killed for food could serve another purpose, that of providing them with warmth and protection from the elements. Today, leather and fur are vital to the apparel, home furnishings, and automotive industries, contributing the raw materials for coats and jackets, handbags, shoes, gloves, and an ever-widening range of fashion products.

Talitha Getty

Osman Ahmed

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

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

Dsquared2

Paula Alaszkiewicz

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Gianfranco Ferré

Giulia Bussinello

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Vivienne Westwood, “Anglomania,” Fall/Winter 1993–1994

Hayley-Jane Edwards-Dujardin

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

From being queen of punk in the mid-1970s, Vivienne Westwood slightly moved, from the 1980s, to being a supporter of British fashion’s establishment. Inspired by traditional craftsmanship and eighteenth-century art, the designer has since infused her collections with historicism. With her fall/winter 1993–1994 “Anglomania” show, Vivienne Westwood epitomized her interest in English and Scottish traditions while mingling masculine tailoring with outrageously feminine forms. Featuring laced bodices,

Fur and Feathers

Jonathan Faiers

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Clothing made from animal skins and the plumage of birds provides some of the earliest examples of the human desire to adorn the body. From ancient history to the present day, furs and feathers have kept us warm, signaled our wealth and status, and made us feel protected and powerful, sensual and stunning. Yet the use of fur and feathers is also deeply controversial and has been the subject of legislation, prohibition, and outrage unlike any other aspect of the fashion industry. From mink to mara

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Performance, Technical, and Smart Textiles

Ingrid Johnson, Allen C. Cohen and Ajoy K. Sarkar

Source: J.J. Pizzuto’s Fabric Science, 11th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

The strength of the United States textile industry is in the research and development of technology applicable to the marketplace. Efficient mill production of commodity textiles alone is no longer sufficient to insure a strong, vibrant business. To gain a competitive edge in the global textile market, continual investment in cutting edge technologies is the key to future success. This chapter focuses on processes and products that meet the criteria of unique and high value-added textile material

Fendi, Fall/Winter 1985

Alexis Romano

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

By the time of Fendi’s fall/winter 1985 collection, the brand was an important feature of the globally renowned, flourishing 1980s Italian fashion landscape, yet it also retained its original status as one of the traditional accessories brands that had helped shape Italy’s classification as a historic center of artisanal, high-quality craftsmanship. Directed by Karl Lagerfeld, who had been at the helm since 1965, and in keeping with Fendi’s heritage and identity, the thread throughout the collect

Givenchy Couture, Fall/Winter 1988

Aimee Williams

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The year 1988 marked major events for Givenchy. In June, French conglomerate Louis Vuitton Moët Hennessey (LVMH) acquired Givenchy’s couture line. Hubert de Givenchy received his Lifetime Achievement award in October. The fall/winter collection’s focal points were texture and color. Rich greens, purples, and crimson saturated fluid fabrics like satin, velvet, and silk, with matching dyed mink, beaver, and fox coats and stoles. Large dyed feathers made an impact in evening wear, affixed to floor-l

Givenchy Couture, Fall/Winter 1983

Aimee Williams

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Givenchy’s well-received fall/winter 1983 couture collection augured the opulence of the decade. Lavish surfeit came in many options for patrons, from jewel-encrusted leather boleros and skirt suits trimmed with mink and fox fur for day, to sequined metallic gowns for evening. Suede and leather gloves and hats and oversized jewels accessorized hand-painted silk skirts and dresses. The chemise and the hourglass shape prevailed. The former figure came in a range of sumptuous textiles, corresponding

Marketing, Advertising, and Promotion

Ashima Dayal, Brooke Erdos Singer and Antonio Borrelli

Source: Fashion Law. A Guide for Designers, Fashion Executives, and Attorneys, 2nd Edition, 2014, Fairchild Books Library

Book chapter

The aim of this chapter is to review the principal legal issues that arise in fashion advertising and to suggest ways of reducing legal risks. We will review the legal issues that arise at each stage of the execution of a fashion advertising campaign, from the engagement of creative personnel, such as hiring models, stylists, and other artists who work in front of or behind the camera, to the creation and clearance of content.

Chapter eleven: Furs and Leather

Jay Diamond and Ellen Diamond

Source: The World of Fashion, 5th Edition, 2013, Fairchild Books Library

Book chapter

If you don’t want to wear furs, don’t. If you love it, wear it. It’s about freedom of choice.

Aboriginal Skin Cloaks

Fabri Blacklock

Source: Berg Encyclopedia of World Dress and Fashion. Australia, New Zealand, and the Pacific Islands, 2010, Berg Fashion Library

Encyclopedia entry

In customary societies Aboriginal people were minimally clothed until contact with Europeans began to alter their habits. One exception was the skin cloaks widely worn by men and women throughout temperate zones of southeastern and western Australia. Cloaks were their main article of dress, important as rugs for warmth, but also for ceremonial use, trade, and as burial shrouds. Indigenous peoples made a variety of cloaks from different types of skin: possums, kangaroos, wallabies, and other fur-b

Greenland

Cunera Buijs

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

Encyclopedia entry

The extremes of the Arctic climate set Greenland dress apart from dress in the rest of West Europe. It is made from the skins and furs of animals and birds and is highly adapted to the conditions and lifestyle of the Arctic people. Even so there are distinctive regional dress cultures of the West Greenlanders (Kilaamiut), Northwest Greenlanders (Inughuit), and East Greenlanders (Tunumiit). It was only in the twentieth century that the dress of Greenlanders began to be influenced by dress in the r

Siberia

Cunera Buijs

Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus, 2010, Berg Fashion Library

Encyclopedia entry

The northern Asiatic continent, at some four-and-a-half million square miles (twelve million square kilometers), has twenty-five million inhabitants who belong to twenty-six different peoples. The clothing traditions among these groups vary greatly, because they were adapted to diverse natural environments, regional conditions, and the availability of materials. Their development was also influenced by economic structures as well as cultural and historical factors. Such foreign materials as silk

Natural Fibers

Virginia Hencken Elsasser

Source: Textiles. Concepts and Principles, 3rd Edition, 2010, Fairchild Books Library

Book chapter

The two main classifications of natural fibers are protein and cellulose. Protein fibers, such as silk and wool, are obtained from animals. Cellulosic fibers, such as cotton and flax, are obtained from plants. Asbestos, a mineral fiber, and natural rubber are other natural fibers. Asbestos is seldom used because it is carcinogenic. Natural rubber has limited use because synthetic rubber is superior for most purposes.

Fur

Julia Emberley

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

Encyclopedia entry

In the Middle Ages the exclusivity of some furs meant that they were used sparingly. The practice of “purfling” was invented in which the more expensive furs were reserved for decorative trim, while cheaper furs were used to finish the lining. There are some examples of excessive expenditures on the part of nobles such as Charles VI of France who apparently used 20,000 squirrel pelts to line a garment. It was not until the fur trade was established in the sixteenth century between France, and the

Namibia

Hildi Hendrickson

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

Encyclopedia entry

In Namibia, the oldest indigenous forms of dress were made from the leather hides of wild and domesticated animals, decorated with shell and locally made metal beads. Before the Colonial period, differing cultural groups and social subgroups distinguished themselves through formalized yet highly inventive hairstyles, headgear, and types of tooth modification. Cloth dress was slowly introduced via Europeans and was adopted in uneven ways. Some indigenous people began wearing cloth early in the Col

Sámi

Desiree Koslin

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

Encyclopedia entry

Sápmi, the Subarctic region of North Europe and West Russia, is home to the Sámi people, estimated to be a population of about seventy-five thousand to eighty-five thousand in the early twenty-first century. Distinctive dress is an important marker of Sámi identity. Traditional Sámi dress shares many features with other Arctic and Subarctic peoples. Garments and footwear were made from the furs, skins, sinews, and organs of mammals, birds, and fish. Current Sámi festive dress is a source of pride

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