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

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

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

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

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

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

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

The August 2007 issue of British Vogue contains a twenty-page fashion story with the heroic, romantic and evocative title ‘To the Ends of the Earth’. Photographed by Tim Walker in Papua New Guinea, a set of sixteen entrancing and startling pictures dramatize fashion through portraits of the model in physical and editorial juxtaposition with landscapes, forests and local tribesmen. These arresting images are deliberately set in place. They are given an explicit and expanded sense of location by wr

With few exceptions, German fashion magazines around the time of the First World War employed studio photographs in the tradition of nineteenth-century portrait photography, which, in the spirit of painted portraiture, showed women in artificial settings in a series of theatrical poses (Figure 7.1) owing much to the dramatized photographic portraits of nineteenth-century actresses (Holschbach 2004: 205–15). Photography was considered an indexical medium that provided the viewer a glimpse of ‘real

Fashion. noun; a popular or the latest style of clothing, hair decoration or behaviour *the production and marketing of new styles of clothing and cosmetics *a manner of doing something.

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

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

The first European Christian missionaries to establish a station in the South Pacific were members of the London Missionary Society (LMS) who arrived in Tahiti in 1797. Over the next one hundred years a number of European Christian denominations established missions there. For example, mission stations were established in Tonga by Wesleyans (1826) and Marists (1832), and in the Gilberts and Ellice Islands (now Kiribati and Tuvalu) by the LMS (1877) and the Catholic Sacred Heart Mission (1881). In

The production system behind fashion photography is a collaboration among many sectors in the fashion industry. A photographer takes fashion pictures, usually of models wearing clothes. Garment firms produce the clothes, which are intended to be worn by consumers. Present at the set—that is, the place where the pictures are taken—are often a makeup artist, a hairstylist, and a fashion stylist, all of whom may have assistants. The pictures will be processed and edited on a computer, and they will

The desire to represent nature as it was marked the advent of photography, with as much detail as the lens would permit. Photography in the early 1800s, as Frenchman Louis Daguerre developed it in the daguerreotype, used a technique that lent itself more to the creation of images resembling an eighteenth-century miniature than a photographic image in the twenty-first century. Daguerre did not envision his work in sun printing in the 1830s as a form of self-expression or as a way to circulate the

See alsoEarly French Fashion Photography.

Horst Bohrmann was born in Weissenfels-an-der-Saale, Thuringia, in 1906, the second son of prosperous, middle-class, Protestant parents. The family suffered financial hardships as a result of World War I but eventually recovered in the 1920s, enabling Horst to attend the Hamburg School of Applied Art, where he studied furniture making and carpentry. Exposure to Bauhaus principles and personalities led him to seek an apprenticeship in Paris with Le Corbusier. However, Horst was disappointed both w