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Arabella Pollen

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Artists, Celebrity and Fashion: From Wilde and Warhol to Taylor-Wood

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

An installation at the Venice Biennale of 2009 set out to provide a picture of, or commentary on, the contemporary art world. But it proved, in retrospect, as problematic as trying to portray or parody fashion on film. The Dutch and Nordic pavilions were twinned that year, to display linked installations created by Michael Elmgreen and Ingar Dragset, two artists whose installation ‘The Collectors’ was intended, presumably, to illuminate the activity of that species. The Dutch Pavilion was created

Celebrity and Fashion, Past and Present

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

‘Celebrity culture’ in a recognizably modern but still rudimentary form could be said to have emerged in the late eighteenth century. The period witnessed the new scientific discoveries and consequent technological developments associated with the Industrial Revolution. They would transform Western society from a predominantly rural one into one increasingly centred on urban and industrial life. Some of the new technologies also made possible the wide circulation of printed material—newspapers, b

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

Edith Durham, Victorian Traveler and Dress Collector in the Balkans

Philippa Mackenzie

Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus 2010

Encyclopedia entry

In 1900 Edith Durham followed medical advice to take an annual trip. She traveled to Montenegro, beginning an involvement with the Balkan peoples that lasted the rest of her life. In the next twenty years Durham traveled widely through areas broadly comprising the former Yugoslavia. She documents her early travels in her first book, Through the Lands of the Serb (1904). She was asked to undertake relief work in Macedonia in the winter of 1903–1904. The political situation was increasingly unstabl

The Portrayal of Balkan Dress in Western Travel Books

Antonia Young

Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus 2010

Encyclopedia entry

Only a few Western travelers have focused specifically on the dress they encountered, and travel books generally devote a very small proportion of their texts and illustrations to clothes or national dress, often observing simply that they were “picturesque” or “colorful.” Most include at least one photograph of a woman in national dress, but without precise information. Many travel writers focused more on architecture, although this can include early dress depicted in frescoes, paintings, and th

Novelist as Stylist, Designer as Storyteller

Sophia Errey

Source: Fashion in Fiction. Text and Clothing in Literature, Film, and Television 2009

Book chapter

Issue 4

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

After the amusements of transvestism, Mme de Ponty comes to the attractions of narcissism. ‘Madame, with such-and such a toilette you could well stay at home, saved from the tedium of the passing hours by this silk or that lace, enchanted and as it were made new to yourself.’ Ix has already broached the same topic, though less drastically, in Issue 1: ‘For, indeed, what does it signify, Madame, that in your salon, the scene of your triumphs, the pier-glass is carved with a tragic or comic mask, a

Issue 5

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

Miss Satin, appropriately, devotes her column in this issue to her compatriot, the great Charles Frederick Worth (1825–95), who, ‘alone, has the art of creating a toilette as elusive as our own thoughts’. Worth was born in Lincolnshire and trained in Swan and Edgar’s store in London, then in 1845 went to Paris, and twelve years later he set up an independent business as a dressmaker, attracting the patronage of the Empress Eugénie and coming more or less to dominate the Parisian world of fashion.

Issue 6

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

Ix at last keeps his promise to write about Books, and to very odd effect. There is a species of calculated absurdity in his lavish praise of the poetry of Théodore de Banville and Emmanuel des Essarts, and it is not too plain what the point of the game is. Certainly, Mallarmé himself, though he was extremely fond of des Essarts as a person, detested his writing (though, out of loyalty, he included a poem by him, ‘Le Veilleur de nuit’, in Issue 5). He writes to Eugène Lefébure on 18 February 1865

Issue 7

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

Ix devotes his column in this issue to a sore subject, already hinted at in his earlier causeries and theatre reports. It is that music (that ‘adorable scourge’) is taking over all the Paris theatres, at the expense of poetry and the spoken word. It is sometimes said that the huge success of the operetta La Fille de madame Angot, with a score by Lecocq, was the first real proof of Paris’s resurrection after the events of 1870–1. It had many imitators; and by November 1874 Lecocq himself had two m

Issue 8

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

Within Ix’s conception of Fashion, as we have noticed already, the calendar plays an important part, and his advice for an old-fashioned Christmas and New Year is warmly affectionate. The enthusiasm extends to the ‘Golden Notebook’s’ instructions for ‘An ordinary Christmas tree’ and is evidently Mallarmé’s own. Ix’s fondness for ‘glacé fruits from all lands’ and ‘traditional sweets … imitating the shape of some ordinary or fantastic thing’ remind one of the inventive quatrains Mallarmé would comp

Part I: La Derniére Mode, and its Pre-history

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

People today say: Napoleon AND Stendhal.

Part III: Paris 1874: A Postface

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

By Alex Cain

Issue 1

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

On the argument that, in this late-summer hiatus between years, it is not plain what the new or ‘latest’ fashion is going to be, Madame de Ponty chooses for her first article a permanent and unchanging topic, jewellery.

Issue 2

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

Ix’s approach to his lady-readers, as we see, is highly insidious. He keeps encouraging them in a ferocious snobbery and chauvinism, until it dawns on us that his cruel mockery of the foreign tourists can be read, equally well or better, as mockery of the Parisians, vainly pluming themselves on their high culture and esprit and the supremacy of their city. (For after all, according to the logic of the argument, they have not actually seen these foreign invaders, they are merely imagining them.) I

Issue 3

P. N. Furbank and A. M. Cain

Source: Mallarmé on Fashion. A Translation of the Fashion MagazineLa Dernière mode, with Commentary 2004

Book chapter

For Ix, Issue 3 is an occasion to express his real preferences and his strongest dislikes in the theatre, without too much concealment. What his readers would be supposed to make of this is a question one keeps asking oneself. Though he detests vaudeville and its ‘Poverty-stricken language’, Ix manages, as we see, to pay a most handsome and fanciful compliment to the celebrated Pauline Virginie Déjazet (1797-1875), queen of the vaudeville theatre for fifty years. Déjazet specialised in ‘breeches’

The Global Diffusion Mechanism of French Fashion: Past and Present

Yuniya Kawamura

Source: The Japanese Revolution in Paris Fashion. Dress, Body, Culture 2004

Book chapter

One’s good reputation is the measure of talent and creativity. In order to create that reputation or prestige, the works must first be exposed for evaluation and then go through a system of validation although consequences are not always positive. Without reputation, it is difficult to prove one’s design skills. Perrot (1994: 40) explains the importance of the designer’s reputation in the nineteeth century: Talent was a pretty slim asset unless it was associated with a reputation, a name at first

Parisian Types

Valerie Steele

Source: Paris Fashion. A Cultural History 2nd Edition 1998

Book chapter

La toilette est l’expression de la société.

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