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In Press and Picture: Kimono Discourse

Sheila Cliffe

Source: The Social Life of Kimono. Japanese Fashion Past and Present, 2018, Berg Fashion Library

Book chapter

This chapter examines kimono in printed texts, both writtenwritten and visual. This is important because printed text is largely responsible for the creation of trends and their diffusion among groups of consumers; thus it plays a key role in the fashion cycle. As Chapters 1–3 show, the written word is a key source for finding out about kimono in the past, as even when fabric or garments remain, these alone cannot enlighten us about their usage. Novels, trading tradingdocumentsdocuments, and patt

Insubordinations of the Laughing Craftswoman

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

This chapter returns back to the villages surrounding Lucknow, where women embroider the luxurious fabrics for the elites while being patronized by the designers, their NGOs and discourses of ‘ethical business’. Recognizing the destructive power of such efforts and the potential violence inherent in benevolence, the craftswomen use often irony and laughter when confronted with patronizing discourses that position them as vulnerable, poor and in constant need of rescue. They mock the designers and

Angel in the Market Place: The African-Jamaican Higgler 1880–1907

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

higgler (market trader): “A Jamaican Lady” postcardcritical draw ofLike many other African-Jamaicans featured on postcards during the late nineteenth and early twentieth century, this woman’s personal details are lost to us. There is no way of knowing her age. She could be anywhere between forty and sixty. What is suggested that if she was closer to sixty, she was an ex-slave, and if nearer to forty, then her parents were enslaved. Either way, this woman had a direct link to the pre-emancipation

“All of Me”: Billie Holiday

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

Music is our witness, and our ally. The beat is the confession which recognises changes and conquers time. Then, history becomes a garment we can wear and share, and not a cloak in which to hide; and time becomes a friend.

How Muslim Women Dress in Israel

Oz Almog

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present, 2017, Berg Fashion Library

Book chapter

Islamic/Muslim dressIn order to understand fully Muslim female dress in Israel, some basic concepts will be clarified here. Islam, like most other religions, regulates the behavior of its believers.Linda B. Arthur ed., “Introduction,” Religion, Dress and the Body, Oxford and NY: Berg, 1999, p. 1. Like other faiths, its legal code lays down rules regarding the related fields of clothing and sexuality.Steele, Valerie, Fashion and Eroticism, Ideals of Feminine Beauty from the Victorian Era to the Ja

Fashion and Feminism

Henriette Dahan-Kalev and Shoshana-Rose Marzel

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present, 2017, Berg Fashion Library

Book chapter

civil rightsgenderDuring the French Revolution, dress became an important issue: one of the ways in which revolutionaries’ values were to be obtained and symbolized was through the adoption of class-less styles of clothing, which expressed the ideals of Fraternity, Liberty, and Equality.

Fashion Apparel Women’s, Men’s, Children’s, and Teen’s

Elaine Stone and Sheryl A. Farnan

Source: In Fashion, 3rd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

Of necessity, the women’s, men’s, children’s, and teens’ fashion industry exists in a constant state of change, reacting on an ongoing basis to the consumer’s tastes and styles, to an increasingly global economy, and to new technology. It is an industry that truly thrives on change and novelty.

Body Types and Size Charts

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Vivienne Westwood, “On Liberty,” Fall/Winter 1994

Lydia Edwards

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

“My job, more than anything, is to idealize women,” Vivienne Westwood has said of her work, including the fall/winter collection “On Liberty,” which premiered in Paris in 1994. Her appropriation of historic styles is well known, but in this collection a reinvention of the bustle, the nineteenth-century skirt support that accented a woman’s behind and allowed for elaborate skirt drapery, is more fluid than similar iterations have been. Westwood’s stark wire cage from 1990, for instance, was not so

Vivienne Westwood’s Elevated Ghillie Shoes from 1993

Hayley-Jane Edwards-Dujardin

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For her fall/winter 1993–1994 “Anglomania” collection, Vivienne Westwood perched her models on extremely elevated platform shoes. Inspired, as most of her collection, by Scottish traditional garments, the platform shoes reinterpreted ancestral ghillies worn for folkloric dances. However, apart from the lacing structure, the shoes were more reminiscent of fetish footwear—an aesthetic typical of Vivienne Westwood’s taste for combining conservatism with subversiveness. When the British designer rein

Underwear from the 1970s to 2000

Hayley-Jane Edwards-Dujardin

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

From the twentieth century, underwear has acquired a functional and an aesthetic purpose, sometimes serving as a second skin for comfort and at other times as an exoskeleton, reshaping the body’s natural form. It conceals or audaciously reveals women’s intimacy and thus nourishes erotic fantasies in a flirtatious game of “nice meets naughty.” Underwear originally had a function of protection, hygiene, and support; it embodied the existing social boundaries between the hidden intimacy and the publ

Pam Hogg

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Helen Storey

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Sonja Nuttall

Elizabeth Kutesko

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Ghost London

Morna Laing

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Luciano Soprani

Nanna Marie Lund

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Marc Jacobs, Spring/Summer 1995

Hayley-Jane Mazières

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

When the American designer Marc Jacobs appeared on New York’s fashion scene, in 1986, after graduating from the Parsons School of Design, he promptly attracted the attention of the fashion press, which praised his playful yet sophisticated streetwear. During his appointment as Perry Ellis’s creative director from 1988, he dared to launch a groundbreaking grunge collection in 1992—the press loved it; Perry Ellis executives loathed it—and he was publicly suspended from his assignment. Nonetheless,

Beyond The Gardenia: Billie Holiday

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation, 2015, Berg Fashion Library

Book chapter

Holiday, Billieinfluence of Hollywoodstyleof Billie HolidayHoliday, Billiedress/style ofOn April 7, 1915, Eleanora Fagan, who would later become known as Billie Holiday, was born in Philadelphia to Sadie, a single mother. This simple event did not foreshadow the star that would suddenly shine bright and burn out within a few decades. In Baltimore, Fagan’s Holiday, Billieearly yearsearly years included a laboring mother, an absent father, truancy, rape by a neighbor and time at an institution for

Glacé Wonderland: Cuteness, Sexuality and Young Women

Masafumi Monden

Source: Japanese Fashion Cultures. Dress and gender in contemporary Japan, 2015, Berg Fashion Library

Book chapter

kawaii (cute) aestheticswomen andporn-chicKawase, Tomoko (Tommy)‘Bloomin’!’kawaii (cute) aestheticsinfantile kindKawaii is like love of humanity, you need a certain mental capacity, strength and experiences to appreciate the fragile.Hitomi, quoted and explained by Kenji of Milkboy during a Skype interview, 29 November 2013. I thank Kenji for sharing this important story.

Ribbons and Lace: Girls, Decorative Femininity and Androgyny

Masafumi Monden

Source: Japanese Fashion Cultures. Dress and gender in contemporary Japan, 2015, Berg Fashion Library

Book chapter

‘There’s one thing about you,’ Maudie said. ‘You always look ladylike.’JeanRhys, Voyage in the Dark (London: Penguin Books, 2000 [1934]), p. 10. ‘Oh God,’ I said, ‘who wants to look ladylike?’

An Ivy Boy and A Preppy Girl: Style Import-Export

Masafumi Monden

Source: Japanese Fashion Cultures. Dress and gender in contemporary Japan, 2015, Berg Fashion Library

Book chapter

Taking great care of appearance is the first step of every fashion.

Concluding Japanese Fashion Cultures, Change and Continuity

Masafumi Monden

Source: Japanese Fashion Cultures. Dress and gender in contemporary Japan, 2015, Berg Fashion Library

Book chapter

For both men and women, whenever sex is an issue, so also is looking and being seen. Every woman who has ever been accosted on the street knows the temporary desire to be invisible, just as every person of either sex has posed in public, hoping to be regarded as attractive by his or her peers.ValerieSteele, Fashion and Eroticism: Ideals of Feminine Beauty from the Victorian Era to the Jazz Age (New York and Oxford: Oxford University Press, 1985), p. 247.

Pattern Grading Fundamentals

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

Pattern grading is the process of systematically increasing and decreasing the dimensions of a master-size pattern into a range of sizes for production. Due to cost constraints, one sample-size pattern is developed and fitted, and then other sizes are graded from this master pattern. The purpose of the grading process is to achieve a good fit in each size of the garment without changing the style sense (proportion and balance) of the garment design from the master-size pattern (Solinger, 1988). H

Grading the Basic Pattern Blocks

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

How to grade the basic block patterns is the most important skill in pattern grading. Because flat patternmaking is based on the use and manipulation of the basic sloper to create other apparel designs, learning to grade the basic block patterns will enable the designer to grade any other design that he or she creates. Learning where the grade is distributed in the basic pattern is imperative to grading other designs. The principles and concepts learned in this chapter will be applied in all of t

Sleeve/Bodice Combinations

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

The bodice and sleeve patterns may be combined to produce new styles referred to as sleeve/bodice combinations. Although these styles are actually developed by combining two basic patterns, new grade rules are required when the pattern orientation is different from the basic blocks. For this chapter, new grade rules will be developed for all of the cardinal points. Some manufacturers may develop a new grade rule table for each new style, even though many of the new grade rules will be the same or

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