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Gianfranco Ferré

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

Christian Dior Haute Couture by John Galliano, Fall/Winter 1997–1998

Waleria Dorogova

Source: Fashion Photography Archive 2015

Article

Following his enthusiastically celebrated debut at Dior, for his second couture collection, John Galliano staged another highly theatricalized défilé in the notoriously gallant environment of the Jardin de Bagatelle. It was the first set design in a series commissioned from Michael Howells, who created complementing backdrops for Galliano’s garments and scenography. Aesthetical measures established in the first show for spring—traditional visual codes and the sartorial heritage of Christian Dior,

Marc Jacobs

Casey Mackenzie Johnson

Source: Fashion Photography Archive 2015

Designer Biography

Yves Saint Laurent

Casey Mackenzie Johnson

Source: Fashion Photography Archive 2015

Designer Biography

Tomasz Starzewski

Nanna Marie Lund

Source: Fashion Photography Archive 2015

Designer Biography

Tristan Webber

Shonagh Marshall

Source: Fashion Photography Archive 2015

Designer Biography

Antony Price

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Modeling History: How Models Have Changed Between the 1970s and 2000

Julia Rea

Source: Fashion Photography Archive 2015

Article

The role and significance of the fashion model has been subject to a series of profound changes since the professionalization of the occupation in the late nineteenth century. These variations have been catalyzed by a wide range of social, cultural, and creative influences, from shifting trends in photography and fashion and changing ideals of beauty and femininity to the advent of technology, the Internet, and social media. When Vogue launched in the United States in 1892, the magazine’s fashion

Ungaro, Spring/Summer 1984

Vanessa Semmens

Source: Fashion Photography Archive 2015

Article

Emanuel Ungaro’s spring/summer 1984 show in Paris was significant for a number of reasons. As a couturier, and a highly regarded one, he was a big part of the conversation in Parisian couture and close attention was paid to his shows—both ready-to-wear and couture. This attention meant that he garnered a lot of press, and his spring/summer collection for 1984 was well received as it showed the wide range of his designs. This collection was typical of Ungaro, not only for the racerback styles but

Ungaro, Spring/Summer 1990

Vanessa Semmens

Source: Fashion Photography Archive 2015

Article

Spring/summer 1990 brought a collection that was typical of Emanuel Ungaro. He was well known for his formfitting dresses and feminine themes, and the collection had a striking mixture of glamorous evening wear and pretty daywear, all accessorized. The House of Ungaro was significant on the fashion circuit, and respected for the high quality of craftsmanship inherent in its garments. In 1993 The Independent put Ungaro in the same sentence as Chanel and Yves Saint Laurent when talking about the “b

Ronaldus Shamask

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

Mugler

Laura Snelgrove

Source: Fashion Photography Archive 2015

Designer Biography

Pierre Balmain

Daphne Stylianou

Source: Fashion Photography Archive 2015

Designer Biography

1970s Style: Key Themes and Trends

Jo Turney

Source: Fashion Photography Archive 2015

Article

The 1970s established fashion as performance, an element of cultures of display in which the street became catwalk (and vice versa), fusing fashion with media such as music, dance, film, and art. It was a decade of imagination and individuality, resulting from newfound social and personal freedoms (Tom Wolfe dubbed it the “Me” decade) which combined with a sartorial knowingness created a new confidence in the presentation of the self—anything was possible and the only limits were of one’s imagina

Boué Sœurs

Waleria Dorogova

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

Encyclopedia entry

In the 1890s, Sylvie and Jeanne Boué were apprentices in the dressmaking establishment Samson et Rottembourg (13, Rue du Helder), where they were able to acquire essential knowledge in the practicalities of managing a fashion business, and which they eventually took over in 1897. Both Sylvie and Jeanne created their own wardrobe before going into training but no more is known about the sisters’ practical abilities in dressmaking, pattern making, draping, drawing, and their detailed involvement in

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