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Fashion Politics and Practice: Indian Cottons and Consumer Innovation in Tokugawa Japan and Early Modern England, C. 1600–1800

Beverly Lemire

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

Book chapter

textilescottonJapansixteenth–seventeenth centuriesEnglandsixteenth–seventeenth centuriesConsumerism, consumptionThe historical characteristics of consumer behavior have been the subject of intensive study for a generation.Among the pioneer studies see: Jan De Vries “Peasant Demand and Economic Development: Friesland 1559–1700,” in William Parker and E. L. Jones eds, European Peasants and their Markets, Princeton: Princeton University Press, 1975; Economic Policy and Projects: The Development of a

John Galliano, Fall/Winter 1994–1995

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Article

In 1990, John Galliano moved from London to Paris. His early years in Paris are described as an ebb and flow, mostly determined by financial backing or the lack thereof. Cycles of decline and regrowth have since characterized the public perception of Galliano. After forgoing the previous season due to lack of funds, Galliano’s spring/summer 1994 collection was presented in the Louvre’s Cour Carrée to critical acclaim. In March 1994, pieces from the collection were celebrated in a Vogue editorial

John Galliano, Graduate Collection, “Les Incroyables” 1984

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Article

While studying languages at City and East London College in Whitechapel, London, John Galliano took various design and drawing classes. His tutors encouraged him to apply to the foundation course at Saint Martin’s School of Art (later Central Saint Martins). His application was successful, and through illustration courses he found fashion design. Outside of classes, Galliano worked as sales assistant at Topshop, as a dresser at the National Theatre, and learned tailoring skills as an apprentice f

Markus Lupfer

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Designer Biography

Dsquared2

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Designer Biography

Clements Ribeiro

Amber Jane Butchart

Source: Fashion Photography Archive 2015

Designer Biography

Kostas Murkudis

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Louis Vuitton (house)

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1991

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection is an example of what Bernadine Morris at the New York Times termed “the new age of haute couture,” where couture was about exploring directional, fashion-forward concepts instead of just creating opulent clothing. Presented at the École Nationale Supérieure des Beaux-Arts, Lagerfeld subverted stiff, prom-dressy tulle by molding it into gaucho pants, puffy parkas, and bubble dresses. Atypical fabrics like cellophane and plastic were used on classic tweed jackets. He also introduce

Bill Blass, Spring/Summer 1988

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was inspired by Matisse paintings that Bill Blass saw while at the National Gallery in Washington. Shown at the Parsons School of Design in New York, the clothes were short and full of froufrou due to the influence of “the sugar daddy of bonbon chic” and designer of the moment Christian Lacroix, and his short, little-girl styles. Hems were well above the knees, which concerned retailers servicing working women needing office-appropriate clothes. Even though critics liked his use o

Dirk Bikkembergs

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Ghost London

Morna Laing

Source: Fashion Photography Archive 2015

Designer Biography

AllSaints

Sandra J. Ley

Source: Fashion Photography Archive 2015

Designer Biography

Marithé + François Girbaud (house)

Sandra J. Ley

Source: Fashion Photography Archive 2015

Designer Biography

Florals

Tessa Maffucci

Source: Fashion Photography Archive 2015

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

Dolce & Gabbana, Spring/Summer 1997

Tessa Maffucci

Source: Fashion Photography Archive 2015

Article

Dolce & Gabbana’s spring/summer collection of 1997 capitalized on their strengths. Sensual chiffon hugged curvaceous (but trim) hips and bra straps peeked out from under delicate, negligee-inspired fishtail gowns. The palette of the runway was punctuated by animal prints and florals, often visible beneath the sheer material of the dresses or through open-weave crochet sweaters. Their look is sexy and upbeat, drawing influence from Domenico Dolce’s Sicilian heritage and the imagery of Italian film

Zandra Rhodes, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive 2015

Article

Rhodes’s spring/summer 1984 collection made its debut in London’s Ritz Carlton hotel. Having studied textiles before designing fashion, Rhodes’s garments utilize fabric with a high degree of detail and craftsmanship. This collection was no exception, with dresses made of embroidered chiffon, metallic sequined ensembles, and dresses encrusted with hanging pearls and crystals, all in pastel color schemes accented with blazes of magenta and deep cerulean. While a few typical 1980s body-conscious, sh

Lainey Keogh

Shonagh Marshall

Source: Fashion Photography Archive 2015

Designer Biography

Mark Eisen

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Flyte Ostell

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Sonia Rykiel, Spring/Summer 1983

Emily M. Orr

Source: Fashion Photography Archive 2015

Article

Sonia Rykiel’s collection of spring/summer 1983 expressed great flamboyance and fun in a range of body-conscious silhouettes. Pastel colors, soft ties along necklines, floral prints, and white pantyhose and gloves set tones of soft femininity. “Pure Sonia Rykiel” was best shown off through “long knitted cardigans with flounced ruffle knit skirts,” along with a number of separates in signature primary colored stripes. Theatricality reigned as models danced down the runway, wore life preservers, an

Sonia Rykiel, Fall/Winter 1986

Emily M. Orr

Source: Fashion Photography Archive 2015

Article

Held in the Tuileries Gardens on Sunday 23 March 1986 at 6 p.m., Sonia Rykiel’s fall/winter fashion show was a lengthy and glorious celebration of creativity and drama, offering a series of distinct acts of design. Figure-hugging knit silhouettes in vibrant pink as well as subdued tones of camel, black, and white were luxurious enough to transition from day to night. Panné velvet dresses with rows of provocative ruffles declared a new direction in glamour. Matching purses in the shape of oversize

Sonia Rykiel, Fall/Winter 1998

Emily M. Orr

Source: Fashion Photography Archive 2015

Article

Celebrating her thirtieth anniversary, Sonia Rykiel presented her 1998 fall/winter collection at the Bibliothèque Nationale de France. The show was saturated in extravagance through looks from day to evening, and sportswear to formalwear. “No one has ever made skiwear look that glamorous,” reported the New York Times. Feminine touches in floral prints, seductive necklines, and bra tops were balanced with low-slung, wide-leg trousers with patch pockets. The collection included not only womenswear

Burberry

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

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