Results: Text (100) Images (0)

Filtered by:

Clear filters
Sort by
Results per page
Results showing
1 - 25 of 100 (4 pages)
    Page 1 of 4
Rabbinical Dress in Italy

Asher Salah

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

Book chapter

The promulgation of sumptuary laws, regulating specific items of dress that might be worn by various individuals on certain occasions, is a well-known chapter of European social history from the late Middle Ages to the eighteenth century.On Jewish sumptuary legislation in general see: Salo Wittmayer Baron, The Jewish Community: Its History and Structure to the American Revolution, 3 vols, Philadelphia: Jewish Publication Society, 1942; Louis Finkelstein, Jewish Self-Government in the Middle Ages,

Liberty of Dress

Valerie Steele

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

Book chapter

Nulle personne de l’un ou de l’autre sexe ne pourra contraindre aucun citoyen ni citoyenne à se vêtir d’une manière particulière, chacun étant libre de porter tel vêtement et ajustement de son sexe que bon lui semblera, sous peine d’être considéré et traité comme suspect, et poursuivi comme perturbateur du repos public.

The Black Prince of Elegance

Valerie Steele

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

Book chapter

Eternelle superiorité du Dandy.

Talitha Getty

Osman Ahmed

Source: Fashion Photography Archive 2015

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

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

Valentino

Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography

Victor Victoria

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Black

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Historically associated with cultural symbols of sorrow, experience, drama, and abstinence, the color black has frequently been worn since the fourteenth century to mark out the wearer from others in a variety of social and economic ways. On the catwalk, black has been used by a variety of designers including John Rocha, Yves Saint Laurent, Rei Kawakubo, and Romeo Gigli. Since the 1970s, black has often been worn in the Western world to challenge and subvert cultural values. Yet, by the end of th

Silver

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Historically, the color silver was very expensive to produce as it involved creating threads from both silver and gold metal before being wound with other fibers. While associated with cultural symbols of femininity and modernity, the color has also been linked with tradition and nostalgia. On the catwalk, it has been used by a variety of designers including Thierry Mugler, Isaac Mizrahi, Alexander McQueen, and Paco Rabanne. Since the 1970s, fashion trends associated with the color silver have in

Gold

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Historically, the color gold was very expensive to produce as it involved creating threads from the scarce mineral known as gold. While associated with cultural symbols of wealth, reverence, and power, the color has also been negatively linked with a lack of taste and conspicuous consumption. On the catwalk, it has been used by a variety of designers including Donna Karan, Yves Saint Laurent, Versace, and Valentino. Since the 1970s, fashion trends associated with the color gold have included club

Orange

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Associated with cultural symbols of devotion and vitality, the color orange has been worn to convey confidence in status and belief, with its vivid ability to draw attention to itself. Yet, this demand for recognition also makes it a suitable color to convey a warning, or signal danger to others. Toward the end of the twentieth century, designers such as Gucci, Michael Kors, Helmut Lang, and Vivienne Westwood increasingly used orange in their collections in an effort to reference both technologic

Purple

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Associated with cultural symbols of opulence and originality, historically the color purple has been worn to convey wealth and status, in particular by those with royal heritage. More recently, the color purple has been linked with creativity and charisma, often gaining popularity in less conservative Western socioeconomic periods. On the catwalk, a variety of designers have used the color purple, including Chloé, Gianni Versace, Byblos, and Sonia Rykiel. Toward the end of the twentieth century,

Green

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Associated with cultural symbols of balance and belonging, historically green has been worn to convey hope, good health, and the supernatural. Twenty-first-century concerns about the fashion industry’s impact upon the environment have seen the expression and ethos “Green is the new black” gain currency. On the catwalk, the color green has been used by a variety of designers such as Daniel Hechter, Isaac Mizrahi, Hyper Hyper, Sportmax, and Thierry Mugler. Since the 1970s, fashion trends associated

Pink

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Associated with cultural symbols of affection and sensuality, the color pink has often been used to depict and challenge gender identities. On the catwalk, pink has appeared in the work of a variety of designers including Versace, Chanel, Stella McCartney, and John Richmond. From pastel shades to dazzling brights, pink has been a frequent trend across all seasons, whether used to create a splash of warmth in the winter or a spot of coolness in the summer. Featured both in womenswear and menswear,

Bridal Wear

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Article

The evolution of the bridal gown, and its history, aesthetic, and rituals, are significant within our cultural history and have an influence on the contemporary wedding ceremony. Modern designers continue to be influenced by fashion history, or may reflect current styles and concerns. This article predominantly refers to the white wedding gown worn traditionally in Western Christian cultures, its heritage, and the wedding dress as archival object.

John Rocha

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Bill Blass, Spring/Summer 1993

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was a bit of a departure from Bill Blass’s previous collections, with critic Cathy Horyn noting that some of the pieces “seemed to come from out of the blue.” It took place in the designer’s showroom. The clothes were similar to what other designers were doing at the time, being feminine, blousy, and sheer. There were elements of overt sexiness, with a bubblegum pink dress edged in black lace and an ensemble of a black-and-white striped cardigan with the top buttons left open pair

Bill Blass, Spring/Summer 1995

Michelle Honig

Source: Fashion Photography Archive 2015

Article

Bill Blass’s 1995 spring/summer collection focused on color and short hemlines, clothes that he thought were “just pretty.” The dominant color was pink—a marker of femininity. That season, fashion looked to the golden age of Hollywood, the 1930s, for inspiration and Blass was no exception. However, while other designers created clothes with tight, long satin pencil skirts that hobbled movement, he ignored that trend and instead made fun and flattering clothes with a twist. His evening clothes wer

Ann Demeulemeester

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Sonja Nuttall

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Byblos

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Etro

Sandra J. Ley

Source: Fashion Photography Archive 2015

Designer Biography

Versace, Fall/Winter 1997 Couture

Tessa Maffucci

Source: Fashion Photography Archive 2015

Article

In July 1997, Gianni Versace presented his final couture collection at the Ritz Hotel in Paris just days before he was murdered. The theme of his final show seemed eerily prescient. Many of the models were dressed in black and several of the pieces were adorned with the motif of a Byzantine cross. Even a wedding look, worn by Naomi Campbell, hinted at feelings of the occult. Yet this final haute couture collection was a continuation of the subjects and details he had explored throughout his entir

Issey Miyake, Spring/Summer 1995

Veronica Maldonado

Source: Fashion Photography Archive 2015

Article

In a season with an overflowing schedule and no clear unifying trend, Issey Miyake once again gained the admiration of both the fashion media and industry by continuing to stick to his now famous aesthetic and innovative fabric making methods. Miyake’s presentation was, as in the previous spring, less fashion show and more multimedia performance, this time with a live string quartet. His Paris Fashion Week success came at the heels of another—the recent launch of his Pleats Please line was exceed

Back to top
Results showing
1 - 25 of 100 (4 pages)
Page 1 of 4