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Valentino

Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography

Gianfranco Ferré

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

Nino Cerruti

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

Alberta Ferretti

Giulia Bussinello

Source: Fashion Photography Archive 2015

Designer Biography

Victor Victoria

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Maurizio Baldassari

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Guiliano Fujiwara

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Byblos

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Etro

Sandra J. Ley

Source: Fashion Photography Archive 2015

Designer Biography

Giorgio Armani

Nanna Marie Lund

Source: Fashion Photography Archive 2015

Designer Biography

Dolce & Gabbana, Spring/Summer 1997

Tessa Maffucci

Source: Fashion Photography Archive 2015

Article

Dolce & Gabbana’s spring/summer collection of 1997 capitalized on their strengths. Sensual chiffon hugged curvaceous (but trim) hips and bra straps peeked out from under delicate, negligee-inspired fishtail gowns. The palette of the runway was punctuated by animal prints and florals, often visible beneath the sheer material of the dresses or through open-weave crochet sweaters. Their look is sexy and upbeat, drawing influence from Domenico Dolce’s Sicilian heritage and the imagery of Italian film

Max Mara

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Missoni

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Complice

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Milan

Simona Segre Reinach

Source: Fashion Photography Archive 2015

Article

The relevance of the city of Milan in the history of modern fashion is linked to the success of fashion designers’ prêt-à-porter in the mid-1970s and 1980s. This is a model of fashion production which became hegemonic in the global fashion industry. Ready-to-wear was invented in the U.S. in 1949, and the new system of production was diffused and renamed by the French as prêt-à-porter in the 1960s. It was only with the Milanese twist, though, that prêt-à-porter started to signify modern fashion to

Italian Fashion

Simona Segre Reinach

Source: Fashion Photography Archive 2015

Article

In the first half of the twentieth century, Italian fashion did not really exist as a proper industrial sector; models of French inspiration were created, above all in women’s fashion, while British models prevailed for menswear. Everything was made at artisanal level or little more than that. Even the autarchic phase under Fascism had no repercussions on the international perception of Italian fashion, or on the promotion of a genuine development in the clothing sector, with the important except

Blumarine

Vanessa Semmens

Source: Fashion Photography Archive 2015

Designer Biography

Costume National

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

Laura Biagiotti

Laura Snelgrove

Source: Fashion Photography Archive 2015

Designer Biography

Salvatore Ferragamo

Daphne Stylianou

Source: Fashion Photography Archive 2015

Designer Biography

Cividini

Tory Turk

Source: Fashion Photography Archive 2015

Designer Biography

Burqinis, Bikinis and Bodies: Encounters in Public Pools in Italy and Sweden

Pia Karlsson Minganti

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

The burqini is often met with resistance. Muslim women are considered to cover themselves too much. Their habits differ from ours, whether in Sweden and Italy or elsewhere in Europe. One day I experienced how this taken-for-granted assumption on European homogeneity is challenged. During a stay in Italy, I had decided to go swimming at a public swimming bath. While in the shower, washing myself before going into the pool, I noticed an information panel on the wall. It stated the regulations, incl

Indigo Bodies: Fashion, Mirror Work and Sexual Identity in Milan

Roberta Sassatelli

Source: Global Denim 2011

Book chapter

Pondering over her wardrobe, Francesca, a stylish, freshly graduated woman in her mid-twenties, says that, whilst they are ‘vital’ to her, ‘Denim jeans just sit with the rest [of her clothes]: they are just in the middle of the mess, but I take them out much more often, so always know where they are’ (Interview 15). These few words allude to the particular position that jeans – normal and yet special – occupy in young people dressing practices. This partly reflects what youth from Milan participa

Masquerade and Masked Balls

Ann Ilan Alter

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

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