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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

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

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

Céline

Laura Snelgrove

Source: Fashion Photography Archive 2015

Designer Biography

Ralph Lauren

Daphne Stylianou

Source: Fashion Photography Archive 2015

Designer Biography

‘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

Designers and Models Become Brands

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

In 1921, Gabrielle ‘Coco’ Chanel launched one of the most successful scents of all time (Groom 1997: 21). The iconic oblong bottle for Chanel No. 5, still revered, was carefully designed to her own very strict specifications, and she selected its contents from several versions created by parfumier Ernest Béaux (Charles-Roux 2009). Meanwhile, once established as a designer, she herself also became a fashion leader; she was constantly photographed and always mindful of publicity, whether it was in

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

Changes in Cinematic Culture: Some Celebrity Cover Girls

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Some of the films made by the new celebrity stars may not actually be seen by their fans; they will, however, have seen stills in magazines or on the Internet. When their films are commercially successful, the image of the star seen on screen often matches their most popular off-screen image. Jennifer Aniston in Marley and Me, made in 2009 and more successful at the box office than her previous string of romantic comedies, looks exactly like the off-screen Jennifer Aniston, so often photographed

Music and Fashion Forge Links

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Janice Miller’s recent book Music and Fashion (2011) is a fascinating and long-overdue study of the relationship outlined in the title. What is interesting is that no one had formerly set out to explore the subject in depth, apart from the odd article here and there (see Miller 2011; McLaughlin 2000, 2011) and Stan Hawkins, who focuses in his book upon masculinity and the British pop dandy (2009). Not all of the musicians Miller discusses in her text could be called celebrities; in fact, many of

DIY Chic: Notes on Indie Style

Brent Luvaas

Source: DIY Style. Fashion, Music and Global Digital Cultures 2012

Book chapter

Be an original in a land full of fakes and duplicates.

Rei Kawakubo and Comme des Garçons

Bonnie English

Source: Japanese Fashion Designers. The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo 2011

Book chapter

Vera Mackie (2003: 144)… women [in Japan] were condemned to be ‘mothers’ or ‘whores’.

Branding, Fashion and Music

Janice Miller

Source: Fashion and Music 2011

Book chapter

A kind of special status for creative people is part of a set of characteristics constructed in the nineteenth century by the writers, poets, composers and painters that Raymond Williams (1971) labels the ‘Romantic Artists’. Williams argues that a certain mystique and an almost stereotypical artistic personality were created by and around sets of individuals as a method of resistance to encroaching industrialization.

Clothes and Cultural Identities: Music, Ethnicity and Nation

Janice Miller

Source: Fashion and Music 2011

Book chapter

Martin Stokes contends that music has provided a means by which individuals and communities come to understand themselves in relation to other groups with whom they contrast themselves, thus establishing the ‘difference between’. Therefore, he argues that ‘music is socially meaningful not entirely, but largely because it provides means by which people recognise identities and places and the boundaries which separate them’ (Stokes 1994: 5).

Diverting Denim: Screening Jeans in Bollywood

Clare M. Wilkinson-Weber

Source: Global Denim 2011

Book chapter

During a research visit to Bombay in 2008, I asked a young costume assistant, as we sat talking in a suburban Bombay coffee house, how often she had sourced jeans for films. She replied: ‘Denim is big in films. Our actors are wearing denim throughout the film. They have to have jeans, unless they are wearing a suit. I cannot think of a film where we haven’t used jeans, even actresses.’

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