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Digital Disruption of the Fashion Industry

Wendy K. Bendoni

Source: Social Media For Fashion Marketing. Storytelling in a Digital World, 2017, Fairchild Books Library

Book chapter

The business of fashion has undergone a revolution in the digital age of social media. It has democratized, disrupted, and even shifted the business model of the traditional fashion system. Most fashion industry veterans barely recognize the industry from a decade ago and continue to adapt to the emergence of new technologies and their influence on the new fashion consumer. This transition is not limited to marketing and management, but permeates to the core of design itself. While blogs and soci

Fashion and mobile media

Clare Harris

Source: The Fundamentals of Digital Fashion Marketing, 2017, Fairchild Books Library

Book chapter

Mobile devices allow customers to shop at any time on whatever device they want to use. Because of this, mobile marketing focuses less on the devices that are used and more on the customer’s ‘journey’.

Dress and Personality

Sharron J. Lennon, Kim P. Johnson and Nancy A. Rudd

Source: Social Psychology of Dress, 2017, Fairchild Books Library

Book chapter + STUDIO

In Chapter 1, “Why Study Dress?” we noted that why you look the way you do and the choices that you make to dress your body and thereby modify your appearance is a result of three major influences: the culture and environment that you are living in, the social groups that you participate in, and the combination of individual characteristics that make you a unique individual. In this chapter, we focus our discussion on an individual characteristic, the psychological concept of personality, and how

Fashion Film: from Hollywood to Hoxton

Jon Cope and Dennis Maloney

Source: Fashion Promotion in Practice, 2016, Fairchild Books Library

Book chapter

The relationship between fashion and moving image is long established and exhaustively documented, particularly in cinema. Countless “defining style moments” exist, from Annie Hall to Zoolander, and similarly there is a wealth of academic research on the subject, often debating the role of costume not only on our psyche, but also in wider culture and consumption.

Project Eighteen—Photoshop: Presentation

Robert Hume

Source: Fashion and Textile Design with Photoshop and Illustrator. Professional Creative Practice, 2016, Fairchild Books Library

Book chapter

In this project you will:

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

Aline T. and Monteiro Damgaard

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

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

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, Berg Fashion Library

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

Fashion Styling, Photography, and Costume Design

Michele M. Granger

Source: The Fashion Industry and Its Careers: An Introduction, 3rd Edition, 2015, Fairchild Books Library

Book chapter

A retailer, manufacturer, designer, or organization may contract an independent firm, the fashion show and event planning company, to do all or part of this work for a fee. In general, the fashion show and event producer manages fashion shows and special events for its clients. The company works with each client to determine the type of event, intended purpose, designated audience, and the budget. The company may be contracted to handle part or all of the advertising and public relations, which c

Beauty, Spa, and Wellness

Michele M. Granger

Source: The Fashion Industry and Its Careers: An Introduction, 3rd Edition, 2015, Fairchild Books Library

Book chapter

Sephora was founded in 1970 in France by Dominique Mandonnaud, who, in 1993, fashioned the store’s unique name by blending the Biblical name of Zipporah (Moses’ exceptionally beautiful wife) with the ancient Greek term for “pretty,” sephos. Today, Sephora is the leading chain of perfume and cosmetics stores in France and a powerful beauty retailer around the world. Sephora operates approximately 1,300 stores in 27 countries worldwide, with an expanding base of more than 300 stores across North Am

An ‘Unexpected Pearl’: Gender And Performativity in the Public and Private Lives of London Couturier Norman Hartnell

Jane Hattrick

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

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

Vintage Style and Mediated Memories: Sixties DIY

Heike Jenss

Source: Fashioning Memory. Vintage Style and Youth Culture, 2015, Berg Fashion Library

Book chapter

original clothes from the sixtiesIn spite of the importance attributed to old, original second-hand clothes, it is not the case that all clothes worn by sixties stylers are actual survivors from the 1960s. A restriction to old clothes would lead to a rather reduced wardrobe, since not all clothes desired are available any longer—or may have ever existed in the past. The rarityrarity of old clothes that fit with the current tastetastes and contemporary interest in sixties style makes it essential

Photography in Fashion Advertising since 1970

Paul Jobling

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Photography began to make inroads into advertising—including fashion publicity—by the start of the twentieth century following the evolution of the halftone process in the 1880s. By the 1930s the shift toward photographic methods became more pronounced in advertising, though in fashion publicity line illustrations remained the preferred medium. These could be reproduced more easily (especially when it came to color) but also, given that the visual quality of halftones on newsprint could be somewh

Photographing Street Style: Bill Cunningham and Beyond

Brent Luvaas

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Whether started by New York Times photographer Bill Cunningham, or extending much further back, street-style photography has become an increasingly influential medium within the global fashion industry, with hundreds of bloggers now documenting the real-time trends of “real people” throughout the globe. But as the breadth and influence of street style grew between the 1970s and the mid-2000s, its practitioners stuck steadfastly to a set of common photographic conventions, investing street style w

Street Style: A Brief History

Brent Luvaas

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Over the last couple of decades, the meaning of the term “street style,” both within and outside of the fashion industry, has shifted profoundly from a description of the urban subcultural styles that emerged out of “the street” to those ordinary—but still stylish—forms of dress worn by “real people” in their everyday lives, to, finally, just another genre of fashion photography that captures the looks of fashion insiders outside runway shows. This article provides a brief history of the concept

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

Julia Rea

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

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

Picturing the Material/Manifesting the Visual: Aesthetic Dress in Late-Nineteenth-Century British Culture

Kimberly Wahl

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

Book chapter

The complex relationship between material forms of clothing and visual/literary representations of ‘fashion’ is nowhere more clearly articulated than in the dress practices of nineteenth-century Aestheticism. From the 1870s to the 1890s, Aesthetic dress in Britain was characterized by its comfort, elegance and adherence to classical and medieval dress-ideals. Initially based on earlier Pre-Raphaelite models, Aesthetic dress was eclectic and historicist, merging Antique or medieval models with pic

Appraised, Displayed, and Concealed: Fashion Photography on The Swedish Museum Stage

Anna Dahlgren

Source: Fashion and Museums. Theory and Practice, 2014, Berg Fashion Library

Book chapter

Röhsska Museet, founded in 1916, is dedicated to fashion, design, and craft. It currently holds a collection of 50,000 artifacts; dresses and accessories and other artifacts from the fashion system, but the collection contains only a handful of fashion photographs.When this text was written in 2011 Röhsska had not a single fashion photograph in the collection, www.designmuseum.se and telephone interview with Anna Billing-Wetterlundh, curator, Röhsska Museet, April 26, 2011. Since then the museum

The Design and Rhetoric of Menswear Press Advertisements

Paul Jobling

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

Book chapter

The Art Versus Commerce Debate

Paul Jobling

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

Book chapter

More Than Just A Number: A New Style of Advertising For The 1990s

Paul Jobling

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

Book chapter

Current Issues in The Fashion Media: Industry Roundtable

Djurdja Bartlett, Shaun Cole and Agnès Rocamora (eds)

Source: Fashion Media. Past and Present, 2013, Berg Fashion Library

Book chapter

Laura Bradley, former fashion features editor at SHOWstudio, editor of i-D online (at the time of the conference), and now editor of Another.com and commissioning editor of Another Magazine

Virtual Appropriation

Melitta Baumeister

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

In this next phase of the process, Melitta moved the concept of appropriation forward by creating ‘couples’ (one design that is ‘copying’ the other in a certain way). She saw this as a continuation of developing form and worked with copies or ‘couples’ of designs mostly within the inner lines and garment details. This enabled her to see the act of ‘copying’ as a way to reach an ideal of form or design. She also created groups in colour to further explore the concept.

Virtual Appropriation

Melitta Baumeister

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

The first two garments that Melitta constructed were derived from one jacket shape. The second piece was a bodysuit that had padding in the shape of the first jacket. The third and fourth outfits ‘copied’ each other in that the fourth used a jacket-shaped flock print on a transparent organza dress and the third used a shirt-shaped flock print on a transparent organza dress.

Trompe L’Oeil

Sara Bro-Jørgensen

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

I decided to do knitwear because I like the fact that I am in control of the whole design…

Trompe L’Oeil

Sara Bro-Jørgensen

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

In this next phase, Sara began to develop the abstract photographs into a design language. Her stylistic expression emerged as she turned an abstract 2D image into a coherent 3D collection reflecting both the style and mood of the original images.

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