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Evolution and Adaptation: Form versus function

Barbara Brownie and Danny Graydon

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

Book chapter

Superheroes are immediately identified as extraordinary by their costumes. These costumes are, in contrast to the civilian clothing of their alter ego, colorful, bold, figure-hugging, and often seemingly impractical. At first glance, they may print (comics)accuracyappear ludicrous, but their origins reveal aspects of these costumes to be both necessary and plausible.

Iron Man

Barbara Brownie and Danny Graydon

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

Book chapter

upgradestechnologyinsigniacivilian alter egoidentity constructionOnce a costume is established as a representation of a certain set of values and abilities, the superhero identity can become more attached to the costume than to its wearer. In the case of Iron Man, identityidentity is more bound up in the costume than with any other superhero. Indeed, Iron Man is not a man, but an augmentation.

Watchmen

Barbara Brownie and Danny Graydon

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

Book chapter

practicalitycapeappropriationAlan Moore, AlanMoore and Dave Gibbons, DaveGibbons’ WatchmenWatchmen (1986–1987) is a deconstruction of the superhero comic that poses the question “what if superheroes [and their costumes] were real?” (Thompson, 2005, p. 105). Such self-conscious responses to genre occur, writes Geoff Klock (2002, p. 3), when the “building density of tradition becomes anxiety.” The superhero genre has mushroomed to such proportions that it seems uncontrollable, providing audiences w

The X-Men

Barbara Brownie and Danny Graydon

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

Book chapter

identitycustomizationconformitycolorReynolds (1992, p. 26) observes that all superhero costumes function “as a uniform, binding together all super-beings.” The superhero uniformuniform asserts his readiness to perform acts of heroism, and aligns him with crime-fighting values. Costume “creates a community between its wearers” (ibid.), communicating to audiences that even the most isolated or rebellious superhero conforms to a core set of ideals that define the superhero genre. More so than other

Jane Birkin

Osman Ahmed

Source: Fashion Photography Archive 2015

Article

Jane Birkin (born 14 December 1946) is an English singer-songwriter, actress, and political activist. Coming of age in west London in the early 1960s, she made her first appearances in films such as Michelangelo Antonioni’s Blow-Up (1966), in which she was the first English actress to appear fully naked in a mainstream film, playing the leggy model known simply as “the blonde.”In 1968, she left Swinging London for Paris and despite not being fluent in French, she won the lead role in Francis Giro

Walter Van Beirendonck

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Designer Biography

Traje De Crioula: Representing Nineteenth-Century Afro-Brazilian Dress

Aline T. and Monteiro Damgaard

Source: Dress History. New Directions in Theory and Practice 2015

Book chapter

This chapter examines representations of Afro-Brazilian dress from nineteenth-century Brazil with the aim of examining the traje de crioula’s origin, formation and influence. The research includes comparative analysis of a broad range of nineteenth-century visual representations and written descriptions alongside analysis of surviving garments currently held in museum collections, and their subsequent interpretation and display. To present a case study for this chapter, a sample of four images is

Fashion Journalism and the Catwalk

Julie Bradford

Source: Fashion Photography Archive 2015

Article

The second half of the twentieth century may go down as a golden age for the fashion press covering the collections. As ready-to-wear shows multiplied and fashion became part of popular culture—but before live-streaming and social media meant that everyone could see collections instantly—journalists were in a uniquely privileged position to convey news of this exciting new world to a burgeoning audience. This article will investigate how integral the press was to the development of fashion shows

Tilda Swinton

Barbara Brownie

Source: Fashion Photography Archive 2015

Article

Scottish actor, model, and muse Tilda Swinton was born in London in 1960. After graduating from Cambridge she began a career acting on stage, and later in film, winning an Academy Award for her performance in Michael Clayton. She has played muse to fashion designers and artists alike, collaborating on a collection for Viktor & Rolf (2003) and starring in a short film by fashion designer Hussein Chalayan (Absent Present, 2005). In recent years she has been the face of campaigns for designers inclu

Consuelo Castiglioni

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

All Out in the Wash: Convict Stain Removal in the Narryna Heritage Museum’s Dress Collection

Jennifer Clynk and Sharon Peoples

Source: Dress History. New Directions in Theory and Practice 2015

Book chapter

This study extends historian Stefan Petrow’s 2009 study of the convict stain and Narryna by suggesting ways in which its effects can be overcome or reinterpreted, especially in relation to dress. The metaphor of the convict stain relates to a social stigma dating from the 1840s, when anti-transportationists in VDL began a fierce political and moral campaign against convict transportation to the colony. The stain metaphor was a nineteenth-century term applied by historians from the 1850s through t

Maurizio Baldassari

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Emanuel Ungaro

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Marilyn Monroe

Joanne B. Eicher

Source: Fashion Photography Archive 2015

Article

Marilyn Monroe, born Norma Jeane Mortenson, sometimes using Baker (1 June 1926–5 August 1962), began her career as a model. Signing a film contract in 1946, she played minor roles, receiving attention for her beauty, curvaceous body, and mode of dressing. With prominence, she became a sex symbol. She adeptly helped create her visual persona by learning makeup and strategic wardrobe techniques. She relied on costumers like William Travilla to help construct her image in films like Gentlemen Prefer

Kostas Murkudis

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Dress Thinking: Disciplines and Indisciplinarity

Jonathan Faiers

Source: Dress History. New Directions in Theory and Practice 2015

Book chapter

This chapter will consider some of the pioneering works in the field of dress history. Although these works predate any notion of interdisciplinarity, I believe they achieve an enviable ‘indisciplinarity’, a condition that offers an alternative to the contemporary disciplinary side-taking threatening to cannibalize our field. Before proceeding any further, however, it should be made clear that this chapter is in no way intended to be some sort of polemic against the current state of dress studies

Video Art And Videophilia

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

From the beginning, video art was understood as anti-establishment. It can lay claim to a unique origin: unlike other visual arts media, it was forged in the crucible of contemporary, rather than modern, classical or ancient, art. It had no tradition so was not beholden to it. It had no canon so could start from scratch in response to its immediate circumstances. It had no critical discourse so was not accountable to it. It promised to democratize the production of images. Video art emerged at th

Pam Hogg

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Louise Brooks

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Article

Louise Brooks (1906–1985) was the epitome of the 1920s “flapper,” whose iconic look and style reflected the speed and dynamism of modernity, and whose liberated approach to life and her own identity contributed to her often tragic legacy.

Bella Freud

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Helen Storey

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

John Rocha

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Book chapter

Using legacies left to them by their mother Emma, and with financial help from their father, Norman Hartnell and his sister Phyllis opened a couture house on a small scale at 10 Bruton Street, Mayfair in 1923. By 1934 Hartnell had become a very successful and wealthy couture fashion designer, and the firm moved to much larger premises at 26 Bruton Street, employing up to 500 staff and producing thousands of couture garments a year by 1939. A close study of reviews of his fashion collections in th

Moroccan Lifestyle Media

M. Angela Jansen

Source: Moroccan Fashion. Design, tradition and modernity 2015

Book chapter

As was discussed in Chapter 2, the Moroccan nationalist movementnationalist movement brought, among other things, tremendous changes in the lives, consciousness and ambitionambitions of Moroccan women by the middle of the twentieth century. More women were enjoying an educationeducation and soon they discovered the impact the written word could have on their cause. Therefore a first generation of Moroccan women’s magazines introduced in the 1960s were all run by renowned feminists and had a stron

Investing (in) Time: Collecting and Consuming the Past

Heike Jenss

Source: Fashioning Memory. Vintage Style and Youth Culture 2015

Book chapter

In Germany, markets for used goods, including clothes, have a long history, yet their patronage from consumers who do not rely on them out of economic necessity emerges, as in other European countries, more widely in the 1970s. Volker Fischer, VolkerFischer’s 1980 book on the “nostalgia market” in Germany provides a comprehensive overview of the development of the trade, and the shift in value of old things in the context of the 1970s, when there is surplussurplus in goods and also (compared to t

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