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At the Shoot

Shannon Burns-Tran and Jenny B. Davis

Source: Style Wise. A Practical Guide to Becoming a Fashion Stylist, 2nd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

In this chapter you will learn:

Returning Kimono to the Streets

Sheila Cliffe

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

Book chapter

The hegemonyhegemony that continues to state either directly or indirectly that fashion is a product of European society is facing increasing challenges, and we appear to be in the midst of a paradigm shift. The story of the kimono can be considered one of these challenges. Clothing history in Japan shows an obsession with selfself-presentation going way back to early historical records. While accomplishment in all the arts was desirable for the HeianHeian Edoperiodperiod woman, the most importan

Dressing the Three-Dimensional Form

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

wigsdressing mannequinswigsdressing mannequinsassembling mannequins andmannequindressingdressing mannequinsTo dress a mannequin, it must first be taken apart and then carefully reassembled as the various items or merchandise are put on the figure. After dressing a mannequin for some time, the visual merchandiser will develop his or her own technique for handling the mannequin and assembling mannequinsassembling the parts. For the beginner, the following steps will serve as a convenient way to sta

Mannequins and Mannequin Alternatives

Judy Bell and Kate Ternus

Source: Silent Selling. Best Practices and Effective Strategies in Visual Merchandising, 5th Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

The mannequin is regarded as one of the fashion retailer’s most powerful communication tools. Used strategically, it speaks volumes about fashion trends and a store’s brand identity. We know that in order to communicate effectively, a store mannequin must relate to a shopper’s self-image. When shoppers follow current fashion—read about it, talk about it, look at it, buy it, and wear it—they are defining self and describing who they are through the clothing they wear. In fact, more than one indust

Using the Elements and Principles of Design in Apparel Design and Style Selection

Elizabeth Liechty, Judith Rasband and Della Pottberg-Steineckert

Source: Fitting & Pattern Alteration. A Multi-Method Approach to The Art of Style Selection, Fitting, and Alteration, 3rd Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

Viewer attention automatically goes to contrast in shape, color, line, texture, or pattern—to what therefore appears dominant on the body or the garment.

Technology and Sustainable Futures

Lucy E. Dunne

Source: Sustainable Fashion What’s Next?. A Conversation about Issues, Practices and Possibilities, 2nd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

LUCY E. DUNNE is an Associate Professor at the University of Minnesota, where she is on the faculty of Apparel Design, Product Design, and Human Factors and Ergonomics, and holds affiliate membership in the graduate faculties of Computer Science and Engineering, Electrical and Computer Engineering, and the Institute for Health Informatics. She holds BS and MA degrees from Cornell University in Textiles and Apparel, an AAS in Electronic Technology from Tompkins-Cortland Community College, and a Ph

Marilyn Monroe

Joanne B. Eicher

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Marilyn Monroe, born Norma Jeane Mortenson, sometimes using Baker (1 June 1926–5 August 1962), began her career as a model. Signing a film contract in 1946, she played minor roles, receiving attention for her beauty, curvaceous body, and mode of dressing. With prominence, she became a sex symbol. She adeptly helped create her visual persona by learning makeup and strategic wardrobe techniques. She relied on costumers like William Travilla to help construct her image in films like Gentlemen Prefer

Salvador Dalí

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

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

Statement Jewelry in Contemporary Catwalk Fashion

Julia Rea

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Statement jewelry is defined by its role as a communicator of meaning, extending beyond jewelry’s traditional function as a decorative medium in order to express status, culture, and personality. As a “genre” it is characterized by its exaggerated proportions, bold shapes and colors, and its employment of a wide range of materials other than conventional precious metals and gemstones. By focusing on notable examples from 1990s catwalk fashion, this exploration will trace the historical and cultur

The People and Places of Costume Production

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

Cultural fields are vulnerable to the effects of time in that no field can be expected to remain the same, even as its products and its rationale appear consistent. The essential framework of costume production in Mumbai has remained the same for nearly one hundred years, including its institutional figures (on-set costumers, or dressmen) and local economic contingencies (the vast number and versatility of tailors in the city). But any conversation with retired personnel brings to light the chang

Costume and Character: Wearing and Being

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume, 2014, Berg Fashion Library

Book chapter

My clothes may express the dressmaker, but they don’t express me.

The Workroom and Runway

Judith C. Everett and Kristen K. Swanson

Source: Guide to Producing A Fashion Show, 3rd Edition, 2013, Fairchild Books Library

Book chapter + STUDIO

Merchandise selection is the designation of apparel, shoes, and accessories for presentation in a fashion show to the target customer (Fig. 5.2). Several factors must be considered when selecting merchandise. Because many fashion shows are produced to sell clothing, selected merchandise must make a clear fashion statement to the audience to stimulate after-show sales. The merchandise should be suitable to the demographic profile and lifestyle of the audience, and priced appropriately to what the

The Framework and Sound Check

Judith C. Everett and Kristen K. Swanson

Source: Guide to Producing A Fashion Show, 3rd Edition, 2013, Fairchild Books Library

Book chapter + STUDIO

When you think of Coco Chanel, what is the first image that comes to mind? A quilted bag? Faux pearls? A little black dress? Or maybe a Chanel jacket? Karl Lagerfeld honored the classic Chanel jacket by making it the backdrop of a spring couture show held at the Grand Palais in Paris. As guests arrived they were met by a 66-foot-high, stone-colored, classic jacket complete with double-C buttons and braid trim (Fig. 7.1) (“Circular Thinking,” 2008). A Chanel icon in any era, the jacket was made of

creativity and fashion design

Tracy Jennings

Source: Creativity in Fashion Design. An Inspiration Workbook, 4th Edition, 2011, Fairchild Books Library

Book chapter

When fashion design students and instructors were interviewed to determine their perspectives about creativity, it was discovered that most were quite confident of their understanding of creativity; however, their definitions of the concept were not comprehensive, and they varied widely among members of the group (Jennings, 2006). Within a class, group, or company, an understanding of creativity is essential so that all may work toward a common goal. If a professor calls for creativity on a fashi

Customer Service Means Business

Ira Neimark

Source: The Rise of Fashion and Lessons Learned at Bergdorf Goodman, 2011, Fairchild Books Library

Book chapter

As I have mentioned before, salesmanship seems to be a lost art. All retailers bemoan the fact when a snowstorm, or other inclement weather, causes customers to stay home instead of shopping, it will ruin their sales. I am reminded of a wonderful retail story that I heard many years ago, so long ago that I may have the wrong names. However, whenever the weather turned bad for me, I thought about it.

Ceremonial and Special-Occasion Dress

Michaele Thurgood Haynes

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library

Encyclopedia entry

There is a difference between the terms ceremonial and special-occasion dress. The latter is an out-of-the-ordinary event, possibly unique. Societal conventions create parameters as to what is acceptable wear at these times, but personal clothing choices made by the participants help make it a special occasion. Ceremonial refers to repeated events occurring within a set framework, a somewhat rigid and formalized series of actions. In anthropological terms, a ceremony is generally more suitably na

Gender

Gertrud Lehnert

Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library

Encyclopedia entry

The basic distinction between female and male dress in the Western world is between women’s skirts and men’s bifurcated trousers. Only in the twentieth century was this abandoned—but in one direction, since, even today, men do not wear skirts, despite some attempts by fashion designers. This does not indicate that trousers are more natural for men, but that in the West, they denote supremacy and masculinity. From the late Middle Ages onwards, increasing emphasis was put on gender differentiation

Gay, Lesbian, Bisexual, and Transgendered Persons

Andrew Reilly

Source: Berg Encyclopedia of World Dress and Fashion. The United States and Canada, 2010, Berg Fashion Library

Encyclopedia entry

Reliable information about dress in the lesbian, gay, bisexual, or transgendered (LGBT) community has become available only recently. For many years negative attitudes held by much of the non-LGBT population resulted in beliefs and stereotypes that were often superficial and inaccurate. Research into the dress of members of the LGBT community is now providing a more detailed and nuanced view of the subject. When a person “comes out” or acknowledges an LGBT identity, it is often a mixed blessing;

Fashion: Making and Breaking the Rules

Sophie Woodward

Source: Why Women Wear What They Wear, 2007, Berg Fashion Library

Book chapter

The ephemeral nature of fashion would appear at first glance to be at odds with the long-term relationship to clothing that women have to many of the items of clothing in their wardrobes. This chapter looks at how women balance their desire to be fashionable with their often entrenched personal aesthetics as they connect the fleeting with the grounded. The ways in which a long-term relationship to clothing is inextricably linked to fashion are evidenced in the links between personal biographies a

Dressing Up and Dressing Down: Can You Wear Jeans?

Sophie Woodward

Source: Why Women Wear What They Wear, 2007, Berg Fashion Library

Book chapter

Irrespective of women’s backgrounds, how much money they have or what their background is, all women I worked with had some items they wear all of the time and some items they wear rarely. On average, the range of items that women are selecting from on a daily basis—their ‘active’ wardrobe—is less than 38 per cent. Most women sub-divide their clothing into ‘home’, ‘work’ and ‘going-out’ clothing, which makes very small the actual number of items that women are choosing from to go to work or to go

Introduction

Sophie Woodward

Source: Why Women Wear What They Wear, 2007, Berg Fashion Library

Book chapter

Understanding Women and Their Wardrobes

Sophie Woodward

Source: Why Women Wear What They Wear, 2007, Berg Fashion Library

Book chapter

The question ‘does this go?’ invariably involves the twin question ‘is this me?’, as the particular styles, colours and textures come to form part of a woman’s sense of who she is and who she can be through clothing. Although the items are usually bought in the mass market, the particular range of items in the wardrobe is always unique, as the mass-produced items sit alongside the dress borrowed from a friend or gifted by an auntie. Furthermore, as women wear particular items of clothing, they co

Hanging Out in the Home and the Bedroom

Sophie Woodward

Source: Why Women Wear What They Wear, 2007, Berg Fashion Library

Book chapter

The fieldwork was carried out in two urban sites in Britain—London and Nottingham—over a period of fifteen months. There are clear differences in the two sites in terms of scale and population, with London’s population exceeding seven million and Nottingham’s being only 266,988 (2001 Census data). Both locations possess ethnically diverse populations, with the whole gamut of financial resources, yet this is more marked in London, as there is a far greater mobility in the population, not only in t

But What Were You Wearing?: Clothes and Memories

Sophie Woodward

Source: Why Women Wear What They Wear, 2007, Berg Fashion Library

Book chapter

This chapter considers the ways in which the clothing in the wardrobe is used by women as a means to work through their biography; in the case of Theresa, the act of ordering the wardrobe into memories and former selves is part of her wider strategies of using the wardrobe as a means to order and organize her life. A quarter of the items of clothing in her wardrobe are no longer worn. Characteristic of other women with quantities of such clothing, Theresa has experienced a biographical and sartor

Looking Good, Feeling Right The Aesthetics of Getting Dressed

Sophie Woodward

Source: Why Women Wear What They Wear, 2007, Berg Fashion Library

Book chapter

Through considering the material microscopics of particular women’s personal aesthetics, the focus is upon how clothing mediates this relationship between the individual woman and the outside world. As such, it is the medium through which women consider their social roles and normative ideals of how they should look. As clothing is worn next to the body, such external factors cannot remain abstract, but rather enter the realm of the intimate as a private dilemma for the individual. In looking at

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