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Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography


Jane Webb

Source: Fashion Photography Archive 2015


Wearing red is always meaningful but can be contradictory—it can stand for being good or bad, symbolize opposite ends of opinion in the political spectrum, take you home, or drive you to madness. That red is one of the oldest significant colors, yet remains dynamic and contemporary, is the greatest contradiction of all. In this article we consider whether despite its perpetual appearances on the catwalk in various guises, as singular and collective, abstract, decadent, primal, nostalgic, and spor

Givenchy Couture, Fall/Winter 1988

Aimee Williams

Source: Fashion Photography Archive 2015


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

“Soviet Chic”—Concepts of Russianness in Contemporary Fashion

Waleria Dorogova

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

Encyclopedia entry

Historically, the fascination of fashion designers with Russia has been manifesting itself in Western dress for centuries, conditioned by multifold cultural and political circumstances or simply the personal interest of a dress artist. In the first half of the twentieth century, the unparalleled success of Sergei Diaghilev’s Ballets Russes in Paris, the arrival of Russian émigrés in France as a consequence of the Red Revolution in 1917, and not least the artistic movements that emerged in the you


Aurora Fiorentini

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

In 1950 Valentino went to Paris, where he studied design at the schools of the Chambre Syndicale de la Couture Parisienne. He obtained his first position as a designer with Jean Dessès. In 1957 Valentino went to work in Guy Laroche’s new atelier, where he remained for two years. His training in France provided him with both technical skill and a sense of taste. In 1959 he decided to return to Italy and opened his own fashion house on the via Condotti in Rome with financial assistance from his fam

Bridal Dress in Japan

Ofra Goldstein-Gidoni

Source: Berg Encyclopedia of World Dress and Fashion. East Asia 2010

Encyclopedia entry

Modern Japanese wear Western-style clothing (yôfuku). Japanese attire (wafuku) that is clearly distinguished from Western attire is worn mainly on ceremonial occasions, especially for life-cycle events such as weddings, funerals, and the coming-of-age ceremony (seijin shiki) celebrated at the age of twenty. Of all these occasions, the wedding ceremony is marked not only with the most elaborate traditional costumes but also with an unparalleled combination of Japanese and Western dress.


John Mack

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

Encyclopedia entry

Madagascar is by far the largest of the islands lying off the coast of Africa, yet its traditions of dress and personal decoration are distinctively different from what is found even on adjacent parts of the continent. They also show considerable differentiation within the island itself. Clothing is adapted both to extremes of heat and, in the center of the island, to cold, especially at night. Banana tree fiber, bark, hemp, and indigenous silkworms have all been exploited in making textiles, and

Dressing the Body in Bariai

Naomi M. McPherson

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

Encyclopedia entry

The name Bariai defines a linguistic and cultural group of about three thousand people (in 2005) who live in a dozen villages along a part of the north coast of West New Britain Province, Papua New Guinea. Concepts of the body and ceremonial body wear, in particular interrelated ceremonies for the firstborn child and for mourning, are crucial to understanding how Bariai communicate culturally meaningful messages about self, status, and the cycle of life and death that describes their worldview. T

Body Decoration in South Asia

Archana Shastri

Source: Berg Encyclopedia of World Dress and Fashion. South Asia and Southeast Asia 2010

Encyclopedia entry

The practice of body painting and marking is almost as old as humankind. India forms the largest core of South Asia, and cultural variations are wide and complex. Traditional practices and observances were shared, assimilated, or transported with migration and invasion, enabling continuity of body decoration traditions, which are still practiced in the early twenty-first century. Broader practices associated with Islam, Hinduism, and Buddhism had tribal origins, predominant among these being kohl

Nguni, Zulu, and Xhosa Dress and Beadwork

Gary van Wyk

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

Encyclopedia entry

The Nguni peoples of South Africa include the Xhosa- and Zulu-speaking peoples of the southeast and northeast coast. Despite shared distant Nguni origins, they are differentiated today by language, culture, tradition, history, and other factors. They have in common remarkable traditions of beadwork, which, together with those of the Ndebele (a Nguni people of the interior), are outstanding among African beadwork.

Why Do They Like Red? Beads, Ethnicity and Gender in Ecuador

Lynn A. Meisch

Source: Beads and Bead Makers. Gender, Material Culture and Meaning 1998

Book chapter

One of the pleasures of attending the weekly markets in highland Ecuador is admiring (or buying) the strands of antique and contemporary beads that are heaped on tables, hung from market stalls or piled on cloths on the ground. The beads are avidly and carefully examined and sometimes bought by indigenous women because beads constitute an essential part of female dress (Figure 7.1). By dress or costume I mean a person’s hairstyle, headgear, clothing, jewellery and other bodily adornment (followin

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