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Evolution and Adaptation: Form versus function

Barbara Brownie and Danny Graydon

Source: The Superhero Costume. Identity and disguise in fact and fiction 2016

Book chapter

Superheroes are immediately identified as extraordinary by their costumes. These costumes are, in contrast to the civilian clothing of their alter ego, colorful, bold, figure-hugging, and often seemingly impractical. At first glance, they may print (comics)accuracyappear ludicrous, but their origins reveal aspects of these costumes to be both necessary and plausible.

Sunglasses

Vanessa Brown

Source: Fashion Photography Archive 2015

Article

By the late 1960s, sunglasses were a well-established fashion accessory, having accumulated numerous valuable meanings within Western visual culture: speed, technology, military power, celebrity, travel, glamour, and the outsider cool of black American jazzmen, beatniks, rap artists, cinematic gangsters, and femmes fatales. Subsequently, sunglasses became increasingly significant to fashion, providing lucrative licensing opportunities as well as creative potential to nuance clothes with desirable

Seeing the blur—perception, cool, and mechanized speed (1910–present)

Vanessa Brown

Source: Cool Shades. The History and Meaning of Sunglasses 2015

Book chapter

speedindustrialised consciousness; panoramic perception; Virilio, PaulAlthough the now-ubiquitous image of bikini, shades, and sun-lounger might suggest that the ideal wearer of sunglasses enjoys the luxury of being blissfully inert, the dynamic power, excess, and seductive glamor of men and women speeding along in shades is undeniable—from the tough sheen of Marlon Brando in The Wild Ones to twenty-first century pop acts like Britney SpearsBritney Spears in “Toxic,” where impenetrable diamond-st

Seeing the cyborg—eye-shading, cool, and the hi-tech body (1910–present)

Vanessa Brown

Source: Cool Shades. The History and Meaning of Sunglasses 2015

Book chapter

Exploring speed in the last chapter has already enabled us to consider some aspects of the relationship between sunglasses and modern technologytechnology. But this relationship goes further. Sunglasses became a more general sign of encounters with the wonders and perils of modern technology; in the early days of TV advertising, sunglasses were worn by immaculate, 1950s housewives shading their eyes from the terrifying brilliance of whites achieved with innovative washing powders.

Alexander McQueen for Givenchy, Fall/Winter 2000

Lydia Edwards

Source: Fashion Photography Archive 2015

Article

“I can’t be too literal with my references,” Alexander McQueen said in 2000, when asked to pinpoint the theme of a recent collection. “It’s a number of references culminating together to make one idea.” Nevertheless, with a researched family history dating back to the 1500s, McQueen always acknowledged that “Every part of my background comes from something, be it the Jacobites or the Huguenots,” and influences from Giovanni Bellini to André Courrèges can be glimpsed in his collections. The pieces

Video Art And Videophilia

Adam Geczy and Jacqueline Millner

Source: Fashionable Art 2015

Book chapter

From the beginning, video art was understood as anti-establishment. It can lay claim to a unique origin: unlike other visual arts media, it was forged in the crucible of contemporary, rather than modern, classical or ancient, art. It had no tradition so was not beholden to it. It had no canon so could start from scratch in response to its immediate circumstances. It had no critical discourse so was not accountable to it. It promised to democratize the production of images. Video art emerged at th

Dots in Fashion

Jo Turney

Source: Fashion Photography Archive 2015

Article

Spots, dots, spheres, circles, and even “splats” are central to the expression of fashion as fun. With reference to 1950s bobby-soxers and nostalgic soda fountains, child-like innocence, summer vacations, dance, and escapism in general, spotty fashion has, since the 1970s, embraced humor and playfulness. Yet, prior to this date, dots in fashion and in representation in general have negotiated a paradoxical relationship with taste, encompassing both the naive and the sophisticated, which has incre

Nineteenth-century Technology

Joy Spanabel Emery

Source: A History of the Paper Pattern Industry. The Home Dressmaking Fashion Revolution 2014

Book chapter

Inventors were experimenting with mechanical sewing by the mid-eighteenth century, but it was not until the mid-nineteenth century that a functioning, practical machine was invented by Barthélemy Thimonnier. In “A Brief History of the Sewing Machine,” Graham Forsdyke explains that Thimonnier’s machine was granted a French patent in 1830. By 1840, he had installed eighty of his machines in his factory for sewing uniforms for the French army. Parisian tailors, who feared the machine would put craft

How New Are New Media? The Case of Fashion Blogs

Djurdja Bartlett, Shaun Cole and Agnès Rocamora (eds)

Source: Fashion Media. Past and Present 2013

Book chapter

The 1990s saw the birth of blogs—a contraction of the terms Web and log shortened into its present form by blogger Peter Merholz in 1999 (Rettberg 2008: 26)—with their number soaring from 50 in 1999 (Kaye 2007: 128) to over 181 million by the end of 2011 (Nielsenwire 2012). When in 2003 the genre—a regular, often daily, online posting of one’s musings on a variety of topics—was appropriated by a young American woman to document her style, the first blog devoted to fashion—nogoodforme—was created.

Current Issues in The Fashion Media: Industry Roundtable

Djurdja Bartlett, Shaun Cole and Agnès Rocamora (eds)

Source: Fashion Media. Past and Present 2013

Book chapter

Laura Bradley, former fashion features editor at SHOWstudio, editor of i-D online (at the time of the conference), and now editor of Another.com and commissioning editor of Another Magazine

The Modest Fashion Blogosphere: Establishing Reputation, Maintaining Independence

Reina Lewis

Source: Fashion Media. Past and Present 2013

Book chapter

In the modest fashion sector, the division between corporate and independent can be blurred when bloggers and brands alike may regard their activities as part of a spiritual mission. Like all early fashion bloggers, the first cohort of modest fashion bloggers was initially independent, with many coming online in the same years of the mid-2000s that saw the dramatic increase in blog writing and reading (especially among women) (Pew 2005). Modest blogging spanned the gamut of emergent blog genres,

Fashion’s Digital Body: Seeing and Feeling in Fashion Interactives

Eugenie Shinkle

Source: Fashion Media. Past and Present 2013

Book chapter

For many years, the photograph has been fashion’s primary media form. Over the past decade, however, the dissemination of fashion has grown to encompass much more than still images: it now includes films, podcasts, Web sites, sound works, online magazines and other forms—all increasingly articulated around virtual bodies and located in virtual spaces. These days, the launch of a collection by a major fashion house is accompanied by a cross-platform media experience: ‘streamed as a YouTube runway

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,

Fashion Modelling, Blink Technologies and New Imaging Regimes

Elizabeth Wissinger

Source: Fashion Media. Past and Present 2013

Book chapter

The imaging regime dominated by the Internet has changed many things. In a world now punctuated by pop-ups, pings and tweets, we relate to images differently. Images dance at the margins of our vision whether we are at work or at play. With the dawn of this imaging regime in the late 1980s and early 1990s, attention spans have been overwhelmed, pathways of suggestion have proliferated and the volatility of markets has reached a rapid boil.

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

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.

Future of Subcultural Body Style

Therèsa M. Winge

Source: Body Style 2012

Book chapter

Many Western subcultures contribute to and influence contemporary examples of fashion. The Hippie subculture influenced numerous fashion trends, such as embroidered jeans, shawls, and use of the peace symbol. The Punk subculture is credited with many 1980s fashion trends, such as distressed jeans, safety pin accessories, and band buttons or pins. During the past few decades, the Urban Tribal movement influenced contemporary body fashions with the use and display of body modifications, technologie

Issey Miyake

Bonnie English

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

Book chapter

Clothes … speak many languages … and have to be seen on the outside … as well as felt on the inside.

Techno Textiles

Bonnie English

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

Book chapter

While there are a number of monolithic factories in Japan, such as Toray, the largest textile company in the world, which are technically advanced and automated, the majority of operators are small and simple by comparison. Toray has expanded its base of synthetic fibres and textiles to include many other fields, such as plastics and chemicals, advanced composite materials, pharmaceutical and medical products, construction materials, housing, and engineering. Many of the smaller factories, includ

IT in the Clothing Industry

Céline Abecassis-Moedas

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

Encyclopedia entry

Information technology (IT) in the clothing industry is one of the elements that allows the latest fashion trends from the catwalks to be transformed into mass-market products within days. In clothing manufacturing, it is important to distinguish between preassembly of garments (design, marker-making, or putting the patterns on the fabric, spreading the fabric, cutting, and bundling operations) and garment assembly. Most of the innovations in production and information technologies are taking pla

North American Influences on West European Dress

Rebecca Arnold

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

Encyclopedia entry

North America’s effect on West European fashion is often viewed only in relation to Hollywood and celebrity. However, its influence has been far more diverse, from technological inventions to leisure wear and the professionalization of the industry.

Fashion under Socialism

Djurdja Bartlett

Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus 2010

Encyclopedia entry

The relationship between dress and Socialism started in Soviet Russia following the 1917 Communist Revolution. When Soviet-style Socialism was introduced in East Europe in 1948, dress became an important ideological and practical issue in the countries under Soviet political control. However, the styles of garments, and the discourses in which they were embedded, were not homogeneous in the Soviet Union and the East European countries during the seventy-two years of Communist rule. Both similarit

The Wool Industry in Australia

Prudence Black and Anne Farren

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

Encyclopedia entry

That the wealth of Australia rode “on the sheep’s back” is a well-known expression. In particular, it has been Merino wool (a thick fine fleece suited to weaving into quality fabric) for the international and increasingly global clothing market that has been Australia’s most significant product. The Merino sheep has been selectively bred for over two hundred years and is recognized worldwide for its uniformly fine and soft fibers. While Australia is home to only a small proportion of the world’s

Disability, Its Effect on the Body, and the Clothing Perspective

Kate Carroll

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

Encyclopedia entry

Disability affects the body in various ways, which in turn affects clothing from a variety of perspectives. Clothing for people with disabilities has changed over time, from early attempts to accommodate physical disability into design to clothing that is being embedded with twenty-first-century technology to enhance quality of life. In the early twenty-first century retailers are selling everything from adaptive clothing to fashion-forward products. In the product development process, a variety

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