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Feminist Ideologies in Postmodern Japanese Fashion: Rei Kawakubo Meets Marie Antoinette in Downtown Tokyo

Ory Bartal

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present 2017

Book chapter

In the 1970s, the modernistic social paradigm collapsed in many post-industrial countries. In Japan, it resulted in the falling apart of the homogeneous culture that hailed collectivism. Various groups began to form. In 1970s Tokyo, the Karasu-Zoku (raven tribe) emerged as a parallel to the British Punk movement. Alongside the karasu-zoku was the an-non-zoku, a young and fashionable “tribe” consisting of women who enjoyed reading the mass communicationmagazinesmagazines an-an and non-no. The idea

Dress as Political Ideology in Rabelais and Voltaire Utopias

Shoshana-rose Marzel

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present 2017

Book chapter

François Rabelais (1494–1553), a major French RenaissanceRenaissance writer and humanist, dedicated five novels to a family of giants and their adventures. Although these books are written in an amusing and satirical vein, through them Rabelais denounces Middle Ages backwardness and promotes Renaissance values; according to David M. Posner, “[t]he comic or parodic aspects of the text are, for Rabelais, inseparable from the hermeneutic act, and are essential both to accurate reading and to a recog

Ideology, Fashion and the Darlys’ “Macaroni” Prints

Peter Mcneil

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present 2017

Book chapter

Painted caricatures began on the “Grand TourGrand Tour” as private jokes shared between young men and their tutors. Private Italian painters working in Florence inspired the English development of this field. Etchings were made by Pier Leone Ghezzi (1674–1755) and Pietro Longhi (1702–85), and painted in Rome by English artists including Sir Joshua Reynolds and Thomas Patch (1725–82). Horace Walpole wrote in his journal thus: “Patch was excellent in Caricatura, and was in much favour with the youn

The Consumption of Moroccan Fashion

M. Angela Jansen

Source: Moroccan Fashion. Design, tradition and modernity 2015

Book chapter

Dress is more than the clothes we put on our bodies. As Ruth Barnes and Joanne Eicher (1992: 15) formulate it, it is everything that a person does to or puts on one’s own body, including perfume, make-up, tattoos, hair extensions, etc. as well as the phenomena of anorexia, bulimia, plastic surgery, etc. ‘Dress is the sum of bodybody bodymodificationsmodifications and/or supplements displayed by a person in communicating with the other’ (1992: 15). For example, a Moroccan woman can wear a modest j

Style Narratives: Sixties in the Twenty-First Century

Heike Jenss

Source: Fashioning Memory. Vintage Style and Youth Culture 2015

Book chapter

Music has been described by many of the sixties enthusiasts I interviewed to be at the core of, if not initiating, their interest in the sixties, indicating the significant role music plays in the development of style. Music affects our bodybody, moving inside from the outside. Baacke, DieterDieter Baacke describes it as a phenomenon that “storms our senses”—one that penetrates and moves the body, it drives our corporealitycorporeality and expression, it gets us to dance, to tap with our feet, or

Andrew Groves

Shonagh Marshall

Source: Fashion Photography Archive 2015

Designer Biography

A Stylish History of Jazz: 1900–1960

Alphonso D. McClendon

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

Book chapter

jazzorigins ofNew Orleansslave performancesBechet, Sidneyon slave performances/New Orleansartinfluence of AfricanAfrican ritualsAfrican art/dressDecades before the Civil War, a gathering of inspired people seeking self-determination initiated the birth of a musical genre that flourished throughout America. Congo SquareCongo Square in New Orleans, Louisiana is the highly renowned ground where slaves gathered for spiritual communion on free Sunday. By 1800, these assemblies swelled to six hundred i

Dress Theory, Fashion and A Jazz Aesthetic

Alphonso D. McClendon

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

Book chapter

influence(s)between jazz/fashionmusiciansuse of clothingfashion designersincorporating meaningclothingas act of meaningFashion and jazz are disciplines that have significantly influenced one another in the first half of the twentieth century. Aesthetics, aestheticsdefineddefined as “the identification of the beautiful” (Weiner 2012: 8), were generated, shared and communicated through a merger of visual, behavioral and acoustic qualities among performers. In Cultural PassionsCultural Passions, Eli

Bibliographic guide

Fashion as a research topic has been marginal and never been popular or mainstream in the field of social sciences. It was a topic often taken up by philosophers and moral/social critics in the first half of the nineteenth century, such as René König. Fashion scholars such as Yuniya Kawamura, Gilles Lipovetsky, Sandra Niessen, Anne Brydon, and Elizabeth Wilson have pointed out the academic devaluation of the topic. But with a growing number of academic journals and publications on fashion and dre

Bibliographic guide

In response to the question of what is the social psychology of dress, one first needs to address two related questions: what is dress and what is social psychology? The term dress has been defined by dress scholars Mary Ellen Roach and Joanne Eicher (1992) as the total arrangement of outwardly detectable body modifications and all material objects added to it in the form of body supplements. Body modifications are transformations made directly to the body and include making changes of color (e.g

The Fashion Film Effect

Marketa Uhlirova

Source: Fashion Media. Past and Present 2013

Book chapter

As a heterogeneous cultural form with no clearly predefined stylistic criteria or conventions, the fashion film eludes any attempt at a neat classification as a genre. Formally, fashion films have relied on a range of filmmaking techniques, from stop-motion and computer animation to variously processed live-action footage and combinations thereof; they have borrowed—and often combined—conventions of other genres and modes of production, including music video, avant-garde and experimental cinema,

Indonesia, Republik DIY

Brent Luvaas

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

Book chapter

Since gaining independence from the Dutch in 1949, the sprawling island nation of Indonesia has been, and continues to be, a decidedly tenuous union. Spread across some 17,000 islands in the South Pacific, the Indian Ocean, and the South China Sea, Indonesia is a country of incredible cultural, regional, and biological diversity. Its 233 million people, divided into more than two hundred distinct ethnic groups, practice an immense assortment of religions, from Hinduism to Protestantism and animis

DIY Capitalism: Class, Crisis, and the Rise of Indie Indonesia

Brent Luvaas

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

Book chapter

It’s not just a fashion, it’s Indonesian creative movement!!

DIY in DIY (Daerah Istimewa Yogyakarta): Everyday Production in the Indonesian Indie Scene

Brent Luvaas

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

Book chapter

All the industries in Bandung emerged out of hanging out at first. The pioneers (of the indie scene) emerged out of the hangout spots…And it’s still like that to this day.

DIY Chic: Notes on Indie Style

Brent Luvaas

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

Book chapter

Be an original in a land full of fakes and duplicates.

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.

On Site and Sound: Music and Borders in a DIY World

Brent Luvaas

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

Book chapter

Kita tak kenal Pancasila. Kita hanya kenal Punkasila.

Conclusion: The Indie Mainstream

Brent Luvaas

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

Book chapter

Support Your Local Brand Revolution!

Introduction: The DIY Ethos

Brent Luvaas

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

Book chapter

First and foremost, we have here a discourse that is authoritarian: one has to express oneself, one has to speak, communicate, cooperate, and so forth.

Introduction to Subcultural Body Style

Therèsa M. Winge

Source: Body Style 2012

Book chapter

After World War II, subcultures surfaced with prominence in urban spaces within Western culture (Thompson 1998). Scholars speculate that these subcultures formed because of shared issues and common needs that set them apart from mainstream culture and society (Cohen 1955). Over time, the term “subculture” gained negative connotations for four primary reasons. First, the very term “subculture” has a prefix of “sub,” which suggests something lower or below. Second, subculture members often come fro

Subcultural Body Style History

Therèsa M. Winge

Source: Body Style 2012

Book chapter

From the time we are born, the human body is modified for physical, spiritual, psychological, social, and cultural transformations. In fact, prehistoric mummies found in recent years suggest that body practices, modifications, associated supplements, and rituals were significant in the earliest of human cultures (Winge 2003). In 1991 a frozen Stone Age male mummy was found in the Ötztal Alps. Nicknamed Ötzi, this mummy shows evidence of possibly the earliest body modifications ever discovered. Re

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

Hair

Geraldine Biddle-Perry and Sarah Cheang

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

Encyclopedia entry

Across cultures, the symbolic and material management of hair on bodies, faces and heads is intrinsic to human adornment and hygiene, ritualized belief, and commercial enterprise. Fashions in hair can display an enormous and shifting range of aesthetic and social conventions. A wide variety of primary and secondary sources provides an overview of key debates and theories that describe, inform, and develop our understanding of the styling and management of human hair as a powerful vehicle for soci

Dress and Tourism

Derek Bryce

Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia 2010

Encyclopedia entry

Tourism is an industry of increasing global significance. With international tourist arrivals forecast to exceed 1.5 billion by 2020, it is clear that catering to such vast temporary movements of people has significant impacts on host environments and cultures. In broad terms, this industry is systemically driven to commodify entire cultures in order to render them consumable by large numbers of potential tourists. Perhaps paradoxically, the supposed cultural novelty and exoticism of a destinatio

Veblen, Thorstein

Michael Carter

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Veblen argued that a prime function of dress within the leisure class is to display the wearer’s wealth by their consumption “of valuable goods in excess of what is required for physical comfort” (p. 125). According to Veblen the most immediate form of conspicuous consumption is quantity, or the possession of items of clothing (for instance shoes or suits) far beyond the requirements of reasonable daily wear. However, dress in the leisure class is also subject to considerations of quality. Abilit

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