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Introduction

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Exploring contemporary fashion imagery shows that the mythical or stereotypical connotations of tweeds form a useful starting point for a deeper investigation into their history. For example, an advertisementsadvertisement in Vogue magazinesVogue for Lauren, RalphRalph Lauren’s autumn/winter 2012 womenswear collection featured outfits that were strongly influenced by British country house partiescountry clothing and 1920s fashion, including fitted jackets and jodhpurs in tweed, worn with “mannish

Tweed, Male Fashion, and Modern Masculinities, 1851–1918

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Tweed trouserstrousers in “shepherd’s check” patternshepherd’s checks and other fancy woolensfancy patterns remained popular in Britain and Europe in the 1850s and 1860s.JamesLocke, “A Few Facts on the Tweed Trade,” The Border Advertiser, September 18, 1863, p. 3; CliffordGulvin, The Tweedmakers: A History of the Scottish Fancy Woollen Industry 1600–1914 (Newton Abbot: David & Charles, 1973), p. 80; FaridChenoune, A History of Men’s Fashion (Paris: Flammarion, 1993), pp. 84–5. The Juror’s Report

Couture to Pop and Nostalgic Fashion, 1953–1980

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Between the early 1950s and the late 1970s, the production of woolen cloths in Britain was still primarily concentrated in Yorkshire wool textiles industryYorkshire, Scotland and the West of England woolen industryWest of England.G. F.Rainnie, The Woollen and Worsted Industry: An Economic Analysis (Oxford: Clarendon Press, 1965), pp. 29–31. Yorkshire continued to suitsfor menform by far the largest manufacturing region and Brearley, AlanBrearley and Iredale, John A.Iredale concluded in 1977 that

Introduction

Sheila Cliffe

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

Book chapter

Think Fashion or Tradition?

Sheila Cliffe

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

Book chapter

Kimono lovers may question the necessity for this chapter at all. Why does it matter if kimono is regarded as fashion or tradition anyway? It matters because the WestWest in general, and FranceFrance in particular, have claimed the fashioncenter ofcenter of fashion as their own and still retain a hegemonyhegemony in fashion discourse. Even at a fashion technology conference at the most prestigious fashion fashionschoolschool in TokyoTokyo in 2014, I heard two Japanese professors referring to Pari

Exotic Narratives in Fashion: The Impact of Motifs of Exotica on Fashion Design and Fashionable Identities

Jennifer Craik

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

In the context of exploring the prevalence of exotica in fashion, Jennifer Craik investigates the use of Indigenous Aboriginal motifs in Australian fashion and textiles. Furthermore, she argues that this occurs in a cyclical process of acclamation followed by renunciation coinciding with periodic displays of, and debates about, national identity. Increasingly, nationalism is being defined through the sophisticated blending of indigenous and ‘Australiana’ inspirations in colourful textiles, fashio

Constructing Fashionable Dress and Identity in Bhutan

Emma Dick

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

The relationship between ‘western style’ tailoring education and the construction of street-style fashion in Bhutan is the focus of the chapter by Emma Dick. She argues that there has been a unique interplay between exposure to international fashions and the projection of national dress in the emergence of a distinct language of street-style and associated identity in Bhutan. Central to the development of a fashion-conscious Bhutanese identity has been the blend of traditional media and new socia

Beldi Sells: The Commodification of Moroccan Fashion

M. Angela Jansen

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

Angela Jansen offers an analysis of contemporary Moroccan fashion known as beldi which has simultaneously achieved commercial success while promoting a new sense of national identity. The term, beldi, which means ‘traditional/local/authentic’ in Moroccan Arabic, encompasses both recognition as a brand as well as shorthand for the desire of Moroccan people for authenticity, craftsmanship and national glory. As such, beldi has been a success story as to how contemporary fashion can both reference t

Introduction

M. Angela Jansen and Jennifer Craik

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

fashiondiscourselegacyAbby Lillethun, Linda Welters, and Joanne Eicher (2012: 76) argue in their article (Re)Defining Fashion that socialSocial socialDarwinismDarwinism, in the nineteenth and early twentieth centuries, is at the origin of the embedding of perceived ownershipownership of fashion in Western Europeancultureurbanculturewesterncultureculture. Social Darwinism’s paradigm, they argue, included a hierarchical construct of human typologies shaped by Westerners, which, therefore, positione

Sneakers as A Subculture: Emerging From Underground to Upperground

Yuniya Kawamura

Source: Sneakers. Fashion, Gender, and Subculture, 2018, Berg Fashion Library

Book chapter

It [subculture] has come to signify the twentieth-century category for youth groups who possess some sort of marked style and shared affiliations. Whereas sociologists use the term to describe an infinitely wider array of groups—sport fishermen, West Texas Baptists, or toy train hobbyists—“subculture” is more popularly used to characterize groups of young people. (Clark 2003: 223, footnote 2)

Sneakers as a Symbol of Manhood: Wearing Masculinity on Their Feet

Yuniya Kawamura

Source: Sneakers. Fashion, Gender, and Subculture, 2018, Berg Fashion Library

Book chapter

There is a consensus among dress and fashion scholars that human footwear was not always gendered, but there are different accounts as to when footwear became gender-specific. The distinction between ladies’ shoemakers and men’s shoemakers in the eighteenth century clearly indicates that footwear was gendered.

Trend Forecasters—Fashion’s “Insurance Companies”

Jenny Lantz

Source: The Trendmakers. Behind the Scenes of the Global Fashion Industry, 2018, Berg Fashion Library

Book chapter

We used to say that if you can find areas of fear, uncertainty and doubt, that’s a sign that you should study them more closely. (Neil Bradford, CEO (2008–2009), WGSNWGSN)

Gender and Trends—On Variability

Jenny Lantz

Source: The Trendmakers. Behind the Scenes of the Global Fashion Industry, 2018, Berg Fashion Library

Book chapter

Men always look a bit silly in a trend, don’t they?

Final Discussion

Jenny Lantz

Source: The Trendmakers. Behind the Scenes of the Global Fashion Industry, 2018, Berg Fashion Library

Book chapter

It’s my opinion that the fashion industry and the people who run the industry, or are part of it, are not aware of this at all. They’re still in a horse and buggy and the world is in a jet plane. They are trying to make the changes conform to their old way of disseminating fashion and excitement. And it just doesn’t work, it’s failing all over the place … Now we have so many fragmented style tribes that only the biggest kind of messages filter through and it takes so long. Everyone keeps saying t

History, Art, and Plastic Bags: Viewing South Africa Through Fashion

Victoria L. Rovine

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

Victoria Rovine develops a fascinating reflection as to how a prosaic global commodity, namely, the ubiquitous plastic bag, has become a fashion icon in South Africa. Labelled as ‘China bags’ (reflecting their country of manufacture), Rovine explores the collections of two South African fashion designers who base their work around the potential of these plastic containers. They have transformed the global bag into a distinctively local fashion icon as a symbol of the mixed messages of postmoderni

Introduction

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

vintagerecyclingconsumerculture/societySubcultures have long played a significant role in the development logosof bandsof popular visual signifiers, which are often the catalyst for mainstream styles. self-identified punkPunk is one of the most influential and highly visible of modern subcultures, alongside other formerly underground scenes such as hip-hop, gothgoth, and electronic dance music. Many elements of punk dress have become iconic in popular culture, and yet some of their implications h

Punk Style Motivations and Explanations

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

There is no simple way to answer the question “why does someone dress in a punk style?” Motivations cannot be entirely quantified, however there are dominant themes that drive many to make stylistic choices toward a punk look. Punk style is a way to express individual identity, as it addresses internal emotions as well as lifestyle choices and position within society. The individual choosing punk dress may be expressing internal feelings as well as trying to find external recognition for his or h

Summary of Punk Style

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

Original punk looks were solidified in the eyes of outsiders and the media, and became cues for insiders and for following generations. However, the look is not as much of a uniform as observers would come to stereotype. While punk style has simultaneously maintained some of its original subcultural intent, it has also developed mass appeal, perhaps in an adulterated or appropriated form. This mass image then cyclically helps solidify the stereotypical vision of punk style including such images a

Neither East Nor West: Japanese Fashion in Modernity

Toby Slade

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

Toby Slade analyses how the opening up of Japan during the Meiji period (1868–1912) resulted in the abolition of feudal sumptuary laws as a product of economic and social embourgeoisement that transformed aesthetic tastes. In particular, it resulted in the popularization of samurai tastes that were previously the province of the elite. One sign of this was the availability of imported fine textiles such as cotton and silk to ordinary people who embraced the spirit of modernity and expressed throu

Culture and Consumer Behavior

Brenda Sternquist and Elizabeth B. Goldsmith

Source: International Retailing, 3rd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

After studying this chapter, you should be able to:

You Should Understand, It’s A Freedom Thing: The Stoned Cherrie–Steve Biko T-Shirt

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

In the face you can have all kinds of political landscapes

Coda

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

Being Fashionable in the Globalization Era in India: Holy Writing on Garments

Janaki Turaga

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

Using a case study of ‘holy fashion’ in India, Janaki Turaga explores why this has become so popular in a nation that is grappling with rapid modernization and globalization amid the retention of the traditions and heritage of ancient India. Indicatively, fashion-conscious Indians have embraced a diverse range of ‘secularised sacred’ fashion garments that were previously reserved for believers in culturally prescribed sacred contexts in order to demonstrate fashion and lifestyle statements. Garme

Ottoman costume in the context of modern Turkish fashion design

Şakir Özüdoğru

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

Reflecting the desire to achieve international recognition, Sakir Özüdoğru argues that Turkish designers have incorporated (traditional) Ottoman clothing elements in collections as a superficial commercial strategy, rather than a desire to reflect the socio-cultural values of a Turkey in transition. Instead, Özüdoğru suggests that Ottoman references are simply a source of visual inspiration within the context of western Orientalism. In contrast to exploring and unpacking Ottoman heritage as an a

Zoomorphic Brooches in Roman Britain: Decoration or Religious Ideology?

Lindsay Allason-Jones

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present, 2017, Berg Fashion Library

Book chapter

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