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The Theater of Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History 3rd Edition 2017

Book chapter

Nous savons donc beaucoup de gré à mademoiselle Nathalie des sacrifices qu’elle fait pour ses costumes; de beaux habits sur de jolies femmes, rien n’est plus charmant.

Carmen Miranda

Fiona Corbridge

Source: Fashion Photography Archive 2015

Article

Carmen Miranda was born in Portugal but grew up in Rio de Janeiro and considered herself a Brazilian. Her love of singing led to a career as a musical star in Brazil, going on conquer the US in 1939. Her cheery, colorful persona wiggled through a succession of Hollywood movies in extraordinary costumes that celebrated the color and passion of Brazil and its music, accented with Carmen’s trademark headpieces. Her influence on fashion in her lifetime was strong, with ranges of clothing, jewelry, sh

Subversive Representation: Vernacular, Dress and Morality

Alphonso D. McClendon

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

Book chapter

radical notions, of jazznewspapersnegative portrayals of jazzmedianegative portrayals of jazzjazzradical notions of“Hiawatha”threatblack men asragtimerejection by black aristocracyragtimeand refined art/classmenblack/as threatfearof the Negrocommunitiesblack/and the churchclassblack aristocracychurchand black communitiesblack communities, and the churchblack aristocracyaristocracy, blackEarly jazz, including ragtime and blues, found fruition at a time of social, political and economic change in A

Narcotics and Jazz: A Fashionable Addiction

Alphonso D. McClendon

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

Book chapter

There has been a narrative of narcotics in American popular culture. Narcotics are one of the five classes of drugs regulated by the Controlled Substances Act (CSA)Controlled Substances Act (CSA) in the United States. Classified as a Schedule I substance under the CSA, 21 U.S.C. § 812, heroin has “a high potential for abuse, no currently accepted medical use in treatment in the United States, and a lack of accepted safety for use under medical supervision” (Drug Enforcement Administration 2012a).

Fashioning Celebrity: Class, Tastemaking and Cultural Intermediaries

Helen Warner

Source: Fashion on Television. Identity and Celebrity Culture 2014

Book chapter

In her article ‘Bringing out the * in You’, Deborah Jermyn (2006) calls for the substantial revision and re-imagining of traditional paradigms of television fame (Ellis 1992; Langer 1981). Using Sarah Jessica Parker as a case study, she demonstrates the ways in which the development of American ‘quality’ television complicates the longstanding assumption that ‘stardom proper’ is an exclusively ‘cinematic phenomenon’. Deriving from Ellis’s model (outlined in the introduction), it has long since be

Consuming Masculinity: Gender, Fashion and TV Celebrity

Helen Warner

Source: Fashion on Television. Identity and Celebrity Culture 2014

Book chapter

The 1980s is often cited as an important period during which developments within consumer culture and the fashion industry resulted in increasing media and cultural attention to the male body (Connell 1987; Edwards 1997; Mort 1996; Nixon 1996). Often termed the ‘new man’, a particular incarnation of masculinity emerged which challenged the assumed truth that fashion was an exclusively feminine practice. Writing in the late 1990s, Tim Edwards (1997: 39) suggests that the ‘new man arose as a primar

Locating the Real: America Ferrera, Fashion, Ethnicity and Authenticity

Helen Warner

Source: Fashion on Television. Identity and Celebrity Culture 2014

Book chapter

There was Rachel in Friends, there was Carrie in SATC, then there was Ugly Betty.

The People and Places of Costume Production

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume 2014

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

Book chapter

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

Costume and the Body

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume 2014

Book chapter

The difference between a costume designer and fashion designer? The boutiques, they can just provide you with a salwar kurta, but not a good fit. For a film you require to be perfect. If you have a defect on the shoulders, if you have a defect on your arm, if you have a defect on your waist or hips, it is the costume designer who has to work on that and see how you are looking. Whatever defect is there in your body has to be removed.

Fashion and Spectacle

Clare M. Wilkinson-Weber

Source: Fashioning Bollywood. The Making and Meaning of Hindi Film Costume 2014

Book chapter

Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.

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