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Walter Van Beirendonck

Paula Alaszkiewicz

Source: Fashion Photography Archive 2015

Designer Biography

Charles James

Rio Ali

Source: Fashion Photography Archive 2015

Designer Biography

Romeo Gigli

Rio Ali

Source: Fashion Photography Archive 2015

Designer Biography

Consuelo Castiglioni

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

Yves Saint Laurent, Spring/Summer 1988 Haute Couture

Lorynn Divita

Source: Fashion Photography Archive 2015

Article

Throughout his career, Yves Saint Laurent famously drew inspiration from all of the fine arts, including painting, opera, the ballet, literature, poetry, and the works of Shakespeare. The influence of various painters on Saint Laurent’s creations dates back to his famous fall/winter 1965 “Mondrian Poliakoff” collection. His spring/summer 1988 collection, a tribute to cubism and impressionism and the work of Georges Braque and Vincent Van Gogh, was a natural fit into his oeuvre, with jackets embro

Kosuke Tsumura

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Mitsuhiro Matsuda

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Bill Blass, Spring/Summer 1988

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was inspired by Matisse paintings that Bill Blass saw while at the National Gallery in Washington. Shown at the Parsons School of Design in New York, the clothes were short and full of froufrou due to the influence of “the sugar daddy of bonbon chic” and designer of the moment Christian Lacroix, and his short, little-girl styles. Hems were well above the knees, which concerned retailers servicing working women needing office-appropriate clothes. Even though critics liked his use o

Lolita Lempicka

Morna Laing

Source: Fashion Photography Archive 2015

Designer Biography

Salvador Dalí

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Mystifying, intriguing, thought-provoking: the layered work of the Spanish artist Salvador Dalí (1904–1989) appeared across painting, drawing, film, and sculpture. He is best known for his involvement in the artistic and literary movement of surrealism, which explored the unconscious. However, Dalí’s increasingly commercial endeavors and lifelong interest in dress led him to become hugely influential in fashion, from his meticulously flamboyant self-presentation to his collaborations with couturi

Antoni & Alison

Vanessa Semmens

Source: Fashion Photography Archive 2015

Designer Biography

Jean-Charles de Castelbajac

Elizabeth Tregenza

Source: Fashion Photography Archive 2015

Designer Biography

Adrienne Vittadini

Tory Turk

Source: Fashion Photography Archive 2015

Designer Biography

1815–1871: Turkophilia, Afromania and the Indes

Adam Geczy

Source: Fashion and Orientalism. Dress, Textiles and Culture from the 17th to the 21st Century 2013

Book chapter

Yet neither high Egyptian nights nor the black and opulent coffee with cardamom seed nor the frequent literary discussions with the Doctors of the Law nor the venerable muslin turban nor the meals eaten with his fingers made him forget his British reticence, the delicate central solitude of the masters of the earth.

For the Sake of Art or for the Market? The Cultural Economy of Fashion Design

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.

Introduction, Rationale, Context

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Fashion is the medicament that will console for the phenomenon of forgetting on a collective scale.

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

On Cutting and Pasting: The Art and Politics of DIY Streetwear

Brent Luvaas

Source: DIY Style. Fashion, Music and Global Digital Cultures 2012

Book chapter

Now is the era of cut and paste.

Subcultural Body Style and Identity

Therèsa M. Winge

Source: Body Style 2012

Book chapter

Each subculture member has individual lived body experiences, which collectively create the generalizations about the subculture’s identity. These generalizations are then further extended to collective ideas about identity regarding the individual member, the specific subculture, and the entirety of all subcultures to some degree. The subcultural body becomes an amalgam of experiences—for example, piercings, tattoos, spiky hair, and propensity toward pain. Furthermore, each subculture has unwrit

Yohji Yamamoto

Bonnie English

Source: Japanese Fashion Designers. The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo 2011

Book chapter

Yamamoto and Kawakubo brought the beauty of poverty to the most glamorous stage of the world—the catwalks of Paris. In their 1981 joint collection, they paraded garments which symbolized neediness, destitution and hardship—clothing that appeared to have been picked up from rag-bags. They were entirely black in colour and irregular in shape, with oddly positioned pockets and fastenings. Their size appeared voluminous, as if the space between the external garment and the body had been exaggerated,

The Next Wave of Designers

Bonnie English

Source: Japanese Fashion Designers. The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo 2011

Book chapter

In Paris in October 2006, Naoki Takizawa’s last collection showing for Issey Miyake inspired a standing ovation from the audience. It signalled the launching of his own label, which was financed by the House of Issey Miyake. Since 1982, working together at the Miyake Design Studio, Miyake trained Takizawa in the art of fashion design and fashion showings. Takizawa has become renowned for combining a mixture of new and different materials in order to discover unexpected forms. Using a disciplined

Conclusion: Music, Fashion, Image

Janice Miller

Source: Fashion and Music 2011

Book chapter

The notion of authenticity has been a texture running throughout this book. As I argued in the introduction and in chapters 1 and 2, music stars and their audiences are always reaching for an experience that resonates with the deeper aspects of the self. Thus, the relationship between music performer and audience is rooted in the emotions. This experience is often made all the more powerful because of a variety of aspects of performance, including embodiment. This is despite the fact that to focu

Branding, Fashion and Music

Janice Miller

Source: Fashion and Music 2011

Book chapter

A kind of special status for creative people is part of a set of characteristics constructed in the nineteenth century by the writers, poets, composers and painters that Raymond Williams (1971) labels the ‘Romantic Artists’. Williams argues that a certain mystique and an almost stereotypical artistic personality were created by and around sets of individuals as a method of resistance to encroaching industrialization.

Spectacle and Sexuality: Music, Clothes and Queer Bodies

Janice Miller

Source: Fashion and Music 2011

Book chapter

In a band which might be understood to have a close relation to the emo subculture, whether technically part of it or not a creative focus on notions of death and deathliness would seem wholly appropriate. Growing partly out of the American punk scene of the 1990s and partly also a substrata of goth, emo shares similar ‘primary values … expressed through visually perceptible aspects of personal style: dress, coiffure, jewelry and tattoos and other bodily modifications. Goths are determined to fac

Aboriginal Dress in the Kimberley, Western Australia

Kim Akerman

Source: Berg Encyclopedia of World Dress and Fashion. Australia, New Zealand, and the Pacific Islands 2010

Encyclopedia entry

As in most other areas of Australia, the Aboriginals of the Kimberley were traditionally unclothed. For them, dress consisted of headbands and hair belts. Pubic tassels (made by tying multiple strands of spun fur or hair string into a mop, suspended over the genital area) were worn occasionally. Other elements of dress consisted of ornaments made from feathers, fibers, animal teeth, or shell, the use of which was often dictated by the ceremonial and social status of the wearer. More complex ornam

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