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Camouflage on the Catwalk

Ariel Beaujot

Source: Fashion Photography Archive 2015

Article

The camouflage pattern that is so ubiquitous in Western clothing styles was developed to hide machinery during World War I; it only became a pattern for clothing for troops in World War II. “Camo” is key for war because it helps items blend into the background and it disrupts the shape of forms. Largely because of Army Surplus Stores, camo became a pattern used in street fashion in the 1960s, 1970s, and 1980s. The meaning of camo in this period varied from antiwar protest to a reconnection with n

Futurism

Fruzsina Bekefi

Source: Fashion Photography Archive 2015

Article

This article examines futurism in fashion in the twentieth century and it will focus on the work of designers between 1970 and 2000. It characterizes the theme, its meaning, and relevance during different eras by charting its progression from the fashions promoted by Italian futurists to the utopian designs of the space age. It also explores how contemporary designers have interpreted futuristic trends. Futuristic fashion is shown to intimately reflect on the conditions of existence in years to c

Hussein Chalayan, Spring/Summer 1995

Barbara Brownie

Source: Fashion Photography Archive 2015

Article

Hussein Chalayan’s spring/summer 1995 collection, entitled “Temporary Interference,” was his second commercial collection. It contributed to establishing Chalayan not only as a fashion designer, but as a philosopher and artist for whom clothes are a medium for provoking questions and symbolizing complex notions about human ambition. With this collection, Chalayan explores man’s ill-fated attempts to elevate himself to the status of the divine. Helium-filled balloons pull full-length slip dresses

Red or Dead, Spring/Summer 1995

Amelia Francis

Source: Fashion Photography Archive 2015

Article

The Red or Dead spring/summer 1995 ready-to-wear collection presents fashion pieces with a distinct moral statement: designer Wayne Hemmingway’s disgust at the practice of Western tourists exploiting the Far Eastern sex trade. This issue was particularly pertinent in the cultural context of the time. While this instance of a designer using his work to highlight cultural, ethical, and political dilemmas is by no means the first or last of its kind, the nature of the issue at hand, and the way it w

John Rocha

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Margaret Howell

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Comparing Designers

Tony Glenville

Source: Fashion Photography Archive 2015

Article

Anna Wintour

Stephanie Kramer

Source: Fashion Photography Archive 2015

Article

Regarded as one of the industry’s most powerful figures, Anna Wintour is not simply an arbiter of fashion, but also a style setter in her own right. As editor in chief of Vogue, Wintour establishes trends and anoints the latest talent, but as a fashion icon, her style is tailored to perfection, tried and true. Though Anna Wintour’s style legacy is still very much in the making, her position as a fashion icon has undoubtedly been established. Countless designers not only cite her as a muse, but th

Alexandre Herchcovitch

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Isaac Mizrahi

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Wendy Dagworthy

Michelle Labrague

Source: Fashion Photography Archive 2015

Designer Biography

New Generation

Michelle Labrague

Source: Fashion Photography Archive 2015

Designer Biography

Sportmax

Nanna Marie Lund

Source: Fashion Photography Archive 2015

Designer Biography

Zandra Rhodes, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive 2015

Article

Rhodes’s spring/summer 1984 collection made its debut in London’s Ritz Carlton hotel. Having studied textiles before designing fashion, Rhodes’s garments utilize fabric with a high degree of detail and craftsmanship. This collection was no exception, with dresses made of embroidered chiffon, metallic sequined ensembles, and dresses encrusted with hanging pearls and crystals, all in pastel color schemes accented with blazes of magenta and deep cerulean. While a few typical 1980s body-conscious, sh

Jazz Style on the Catwalk, 1970s–2000s

Alphonso D. McClendon

Source: Fashion Photography Archive 2015

Article

From 1970 to 2000, the influence of jazz culture on the women’s catwalk is pinpointed by the confluence of masculine and feminine details. Designers, during the three decades, interpreted the tuxedo and double-breasted suit that were standardized uniforms of early jazz musicians. Particularly for African American performers, these formal garments bolstered access to mainstream culture, social and economic equality, celebrity, and musical distinction. These utilities are paramount to its exhibitio

Vivienne Westwood, Red Label, Fall/Winter 1999

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Quirky, colorful, and colliding: with its juxtaposed styles, influences, and prints, Westwood created a discordant harmony in her fall/winter Red Label collection of 1999. It was the sixth collection that Westwood had produced for her Red Label line, and it was a rapid departure from those of other designers that season. Among Westwood’s peers, the key trends were plain fabrics and creamy, muted colors; Westwood clashed brights, checks, and prints. In contrast to the clean, understated, minimalis

Vivienne Westwood, Spring/Summer 1993

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Based on a thorough and careful understanding of fashion history and its great designers, yet delivered with bold, bright colors, extravagant accessories, and even nudity, Vivienne Westwood’s collection for spring/summer 1993 demonstrates her nuanced mastery of her art. The collection was shown in Le Grand Hôtel, Paris: the first time Westwood had used this location, where she would go on to host several further shows.

Mark Eisen

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Jil Sander

Lauren Downing Peters

Source: Fashion Photography Archive 2015

Designer Biography

Paris

Alexis Romano

Source: Fashion Photography Archive 2015

Article

Paris was a fashion city from the mid-nineteenth century, when the French fashion system began to function outside of medieval guilds, corporations, and the royal courts. The article first discusses the establishment of haute couture, and explores trade syndicates, the Sentier garment district, department stores, and expositions. A second section focuses on the twentieth century and the couturiers and designers who worked in Paris, and also questions the construction of Paris in the fashion media

Ungaro, Fall/Winter 1999

Vanessa Semmens

Source: Fashion Photography Archive 2015

Article

Ungaro’s fall/winter 1999 collection was a departure from the designs he had been known for in the 1980s and early 1990s. It had more of a hippie feel than his previous collections; however, it still had the luxury that was associated with the brand. Ungaro’s show was judged to have successfully achieved a balance between commerciality and the craft of the couturier.

Ungaro, Spring/Summer 1984

Vanessa Semmens

Source: Fashion Photography Archive 2015

Article

Emanuel Ungaro’s spring/summer 1984 show in Paris was significant for a number of reasons. As a couturier, and a highly regarded one, he was a big part of the conversation in Parisian couture and close attention was paid to his shows—both ready-to-wear and couture. This attention meant that he garnered a lot of press, and his spring/summer collection for 1984 was well received as it showed the wide range of his designs. This collection was typical of Ungaro, not only for the racerback styles but

Ungaro, Spring/Summer 1990

Vanessa Semmens

Source: Fashion Photography Archive 2015

Article

Spring/summer 1990 brought a collection that was typical of Emanuel Ungaro. He was well known for his formfitting dresses and feminine themes, and the collection had a striking mixture of glamorous evening wear and pretty daywear, all accessorized. The House of Ungaro was significant on the fashion circuit, and respected for the high quality of craftsmanship inherent in its garments. In 1993 The Independent put Ungaro in the same sentence as Chanel and Yves Saint Laurent when talking about the “b

Hanae Mori

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

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