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Superman: Codifying the Superhero Wardrobe

Barbara Brownie and Danny Graydon

Source: The Superhero Costume. Identity and disguise in fact and fiction 2016

Book chapter

Superman’s othernessotherness is firmly established in a costume that is identical from day to day. Wearing only one costume, Superman reduces his core values to a single, consistent message which is not compromised by daily adjustments to his wardrobe. This kind of “distinctive persistent dress,” finds Gregory Stone (1981, p. 144), is more commonly associated with professional responsibilities than with personal identity, and so through consistency of dress, Superman presents himself as acting i

Markus Lupfer

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Designer Biography

Alberta Ferretti

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

The Artist as Impresario, the Artist as Brand: from Baudelaire to Barney

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

So much of the world is advertising, and because of that, individuals feel they have to present themselves as a package.

The Impact of Foreign Fashion Brands

M. Angela Jansen

Source: Moroccan Fashion. Design, tradition and modernity 2015

Book chapter

What is a fashion industry? The way Welters and Lillethun (2001: xxix) describe it, a fashion industry requires several components such as: a market economy that provides wealth; adequate technology to make apparelapparel items; a distribution system that disseminates ideas about fashion as well as the products themselves; and a system democratizationof fashionof fashion innovation and adoption. Also, they say, a fashion industry is dependent on a rapidly changing infrastructure influenced by art

Byblos

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Sonja Nuttall

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Giorgio Armani

Nanna Marie Lund

Source: Fashion Photography Archive 2015

Designer Biography

Assessing Elitism and Branding in Jazz

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation 2015

Book chapter

societal opposition, to jazzNew Orleansand jazzEarly on, jazz experienced modes of disdain, streaming from religious institutions, black societies and majority tradition. This conflict commenced with the intersection of gospel and secular musicsecular music. The latter was associated with music performed in saloons, nightclubs and theaters. Around the early 1900s, Du Bois, W. E. B.Du Bois explained the magnitude of segregationand the churchthe church in black communities, and the churchchurchand

Beyond The Gardenia: Billie Holiday

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation 2015

Book chapter

Holiday, Billieinfluence of Hollywoodstyleof Billie HolidayHoliday, Billiedress/style ofOn April 7, 1915, Eleanora Fagan, who would later become known as Billie Holiday, was born in Philadelphia to Sadie, a single mother. This simple event did not foreshadow the star that would suddenly shine bright and burn out within a few decades. In Baltimore, Fagan’s Holiday, Billieearly yearsearly years included a laboring mother, an absent father, truancy, rape by a neighbor and time at an institution for

Branding and Logos

Jennifer Grayer Moore

Source: Fashion Photography Archive 2015

Article

Making the brand name or logo of a company a visible and often dominant design feature in a piece of apparel or on an accessory became a defining feature in fashion in the latter part of the twentieth century, especially from 1970 onward. Icons, initials, full names of designers or design houses, and often a combination of two of the aforementioned were woven, printed, embroidered, stamped, and engraved into every conceivable type of material, sometimes as a single motif and often in endless repe

Christian Lacroix Haute Couture, Spring/Summer 1998

Jennifer Grayer Moore

Source: Fashion Photography Archive 2015

Article

The spring/summer haute couture collection of 1998 by Christian Lacroix is a case study in the high theatrics that came to define much of haute couture design in the 1990s. Bold and clashing colors, patterns juxtaposed to test the very definition of good taste, and incongruous assemblages of historical details that have been inverted and exploded, manipulated, and subverted permeate this collection and beg the question of the role such clothes might play in a woman’s wardrobe. Lacroix’s work, vie

The Handbag from the 1970s to 2000

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

The need to collect, carry, and contain one’s belongings has existed for as long as humanity. From sacks to hold prehistoric flint and pouches for early coins to purses with contemporary cosmetics, various types of handbags have appeared in art and writing throughout history. While always fulfilling a practical function, handbags have also evolved with changing needs. They can be signifiers of fashion, social status, and even psychological state, as they mediate the boundaries between interior an

Contemporary Fashion Practice in Urban India

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style 2015

Book chapter

economic liberalization, India’semergence of new public spaces in urban IndiaLast Sunday I visited a nearby water theme park with my family and a family in the neighbourhood. We thoroughly enjoyed the day playing in water and going on scary rides… But always I am confused what dress I should wear in such places. My husband told me to put on a cotton three-fourth pants and tee shirt. I felt very comfortable in the water in that dress... Some orthodox Muslim women were in Burqa and I was wondering

Max Azria

Vanessa Semmens

Source: Fashion Photography Archive 2015

Designer Biography

Céline

Laura Snelgrove

Source: Fashion Photography Archive 2015

Designer Biography

Ralph Lauren

Daphne Stylianou

Source: Fashion Photography Archive 2015

Designer Biography

Naomi Campbell

Stephanie Talbot

Source: Fashion Photography Archive 2015

Article

Naomi Campbell is a leading British model. She became a cover girl before she was sixteen and was soon being hired by the biggest names in fashion. Campbell appeared on an iconic monochrome cover of British Vogue with Christy Turlington, Linda Evangelista, Cindy Crawford, and Tatjana Patitz in January 1990. This collective had reached the rank of “supermodel,” cementing their pulling power and defining a fashion history moment. Famously, Campbell, who is of African-Jamaican descent, has been the

Cindy Crawford

Stephanie Talbot

Source: Fashion Photography Archive 2015

Article

Cindy Crawford is a leading American model, actress, television host, entrepreneur, and businesswoman. She began modeling at sixteen, and in 1986 signed with the main New York agency of Elite Model Management, thus catapulting her career. Crawford’s thirty-year reign as a supermodel and a household name has been varied, extensive, and illustrious. She is the epitome of fashion powerhouse turned empire, a model who seized business opportunities and simultaneously turned herself into a brand.

Christy Turlington

Stephanie Talbot

Source: Fashion Photography Archive 2015

Article

Christy Turlington is a leading American model, humanitarian campaigner, and filmmaker. She was sixteen when she officially joined the agency Ford Models, and two years later moved to New York City to model full-time. One of her first major campaigns was for Calvin Klein’s Eternity fragrance in 1988; she is also known for her contracts with cosmetics giant Maybelline and designer Giorgio Armani, and alliances with Chanel, Yves Saint Laurent, Prada, Valentino, Versace, Louis Vuitton, Marc Jacobs,

Elle MacPherson

Stephanie Talbot

Source: Fashion Photography Archive 2015

Article

Australian Elle Macpherson is a leading model, actress, television host, and businesswoman. After starring as a wholesome, bikini-clad free spirit in a 1982 TV commercial for the soft drink Tab, a career in modeling beckoned. Macpherson went on to work consistently throughout the 1980s for the most prestigious fashion titles and is best known for her alliance with the publication Sports Illustrated. In 1989 she appeared on the cover of Time magazine, which gave her the apposite nickname “The Body

‘You Bring The Body, We’ve Got The Clothes’: Publicity For Tailors

Paul Jobling

Source: Advertising Menswear. Masculinity and Fashion in the British Media since 1945 2014

Book chapter

In Conclusion: Museums Dressed in Fashion

Birgitta Svensson

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

brandingtourismMuseu Nacional do Traje e da Moda (Portugal)Museums tend to adapt to management strategies to survive by attracting the growing heritage industry and the tourism economy. When visiting Lisbon in 2011 I found it strikingly easy to find the new fashion and design museum MUDE—Museu do Design e da Moda. It was located in a spectacular architecturally designed building in the very busy city center and shopping district, among the main tourist attractions. The museum tries to convey an i

Film Stars as Fashion Icons

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Cinema’s new ‘celebrity’ stardom, within a Western context, is qualitatively different from previous forms of fandom or star emulation. In consequence, the existing theories of stardom (Stacey 1994; Gledhill 1991), sometimes co-opted from film studies to explain modern celebrity culture, are not really sufficient, although, as this book will suggest, Richard Dyer’s idea of ‘the ordinary’ has a new relevance in this rather different context (1978/1998). Film studies within the academy must somehow

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