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Markus Lupfer

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Designer Biography

Manolo Blahnik

Rio Ali

Source: Fashion Photography Archive 2015

Designer Biography

Valentino

Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography

Anna Molinari

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

Yves Saint Laurent, Spring/Summer 1988 Haute Couture

Lorynn Divita

Source: Fashion Photography Archive 2015

Article

Throughout his career, Yves Saint Laurent famously drew inspiration from all of the fine arts, including painting, opera, the ballet, literature, poetry, and the works of Shakespeare. The influence of various painters on Saint Laurent’s creations dates back to his famous fall/winter 1965 “Mondrian Poliakoff” collection. His spring/summer 1988 collection, a tribute to cubism and impressionism and the work of Georges Braque and Vincent Van Gogh, was a natural fit into his oeuvre, with jackets embro

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

Kenzo Takada

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Carven

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1985

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection continued the development of Lagerfeld’s Chanel. Beaded looks were made to look like intricate tapestries and the hems of skirts were either floor-length or well above the knee, a deviation from Chanel’s strict rule of creating skirts 2 in. (5 cm) below the knee, no matter the fashion. The final bridal look was a white satin miniskirt suit. Two-tone, matronly pumps were a Chanel signature; the black stilettos in the collection underscored the younger, sexier direction of the house

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

Guy Laroche

Matina Kousidi

Source: Fashion Photography Archive 2015

Designer Biography

Chloé

Morna Laing

Source: Fashion Photography Archive 2015

Designer Biography

Tomasz Starzewski

Nanna Marie Lund

Source: Fashion Photography Archive 2015

Designer Biography

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

Donna Summer

Amanda M. B. Pajak

Source: Fashion Photography Archive 2015

Article

Donna Summer (1948–2012), born LaDonna Adrian Gaines of Boston, Massachusetts, was titled the “Queen of Disco” during her lifetime and beyond. Predominantly active as a singer-performer during the disco era of the mid- to late 1970s, Summer’s vocal talent and performance aesthetic defined an era of music in addition to an evolution of fashion tied to the hedonistic nightlife of New York City and Los Angeles that was synonymous with the excess and extravagance of the decade. During live performanc

Ungaro, Fall/Winter 1987

Vanessa Semmens

Source: Fashion Photography Archive 2015

Article

The major trend for fall/winter 1987 was short, skintight dresses and low necklines. Designers crafted garments that emphasized women’s bodies, and “Emanuel Ungaro in Paris, for example, presented the most blatant of sexy statements with panache, wit and skill,” according to journalist Carrie Donovan. Ruching, ruffles, and frills were prominent. High necklines abounded: Ungaro employed these as design features as he liked to emphasize the graceful shape of a woman’s neck.

Blumarine

Vanessa Semmens

Source: Fashion Photography Archive 2015

Designer Biography

Norman Hartnell

Vanessa Semmens

Source: Fashion Photography Archive 2015

Designer Biography

Martine Sitbon

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

Versace Couture, Fall/Winter 1990: “Marilyn” Sequined Trousers

Rebecca Straub

Source: Fashion Photography Archive 2015

Article

In the early 1990s, as fashion moved into the realm of popular entertainment, stars plucked from the world of pop, supermodels, and British royalty all wore Versace. Their visibility gave image to the luxe lifestyle the brand came to connote. The man at the helm of this fashion juggernaut, Gianni Versace, with his enviable lifestyle and celebrity clientele, came to embody the ideals of the house he worked hard to open in 1978.In examining a look from Versace Couture of fall/winter 1990—a pair of

Anna Sui, Spring/Summer 1995

Nadya Wang

Source: Fashion Photography Archive 2015

Article

Anna Sui drew significantly from the 1940s to put together her spring/summer 1995 collection. While the dresses and skirts were ladylike in their silhouettes, they were saved from being conservative by the rubberized chiffon Sui used. This translucent material made visible the bare breasts and light-colored boy shorts underneath, such as in a halter top and pleated skirt combination in matching prints that bared the midriff. Tropical daytime looks, which were emphasized with flower crowns and lei

John Rocha, Spring/Summer 1997

Nadya Wang

Source: Fashion Photography Archive 2015

Article

John Rocha’s spring/summer 1997 collection showed off his strengths to great advantage. Sleek silhouettes and natural materials created blank canvases on which he could unleash his creative imagination with handcrafted details: beading, appliqué, crochet, and hand-painted designs. These were used on bralettes, dresses, hooded cardigans, sleeveless tops, and trousers in his favored colors of beige, black, and white, together with shades of blue and gray. Underwear-as-outerwear was on trend for the

Givenchy Couture, Fall/Winter 1990

Aimee Williams

Source: Fashion Photography Archive 2015

Article

Two years after the acquisition of Givenchy by Louis Vuitton Moët Hennessey (LVMH), Givenchy’s fall/winter 1990 collection struggled to negotiate its legacy as a couture line and produce designs to appeal to a contemporary clientele. Elements that had worked in favor of the house in the 1980s drew criticism. While other designers unstructured their silhouettes, Givenchy presented square shoulders on wool suits and evening wear alike. Gold lamé and organza dresses with short, dipping hemlines were

Yoruba in Nigeria and Diaspora

Rowland Abiodun

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

Encyclopedia entry

The Yoruba people number well over thirty million from about sixteen ancient kingdoms. They spread all over southwestern Nigeria and extend well into the neighboring countries of Benin and Togo. The Yoruba have been urbanized since the first millennium c.e. and are well known for their fine artistic achievements, especially the naturalistic life-size bronze heads and terra-cotta sculptures of Ile-Ife. In addition to being among the most accomplished carvers in wood and ivory in Africa, the Yoruba

Togo

Agbenyega Adedze

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

Encyclopedia entry

Although dress in Togo is similar to that of its neighbors in West Africa, it has distinctive features that make it unique in the region. It is quite common for citizens of neighboring countries like Benin, Burkina Faso, and Ghana to identify a Togolese national by his or her clothes even though similar styles of dress might be present in these countries. Like most regions of the world, environment affects clothing choices, especially evident in practices distinguishing the north and the south of

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