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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)

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)

Scene from the Sidewalk: Shooting Street Style at New York Fashion Week

Brent Luvaas

Source: Street Style. An Ethnography of Fashion Blogging, 2018, Berg Fashion Library

Book chapter

In a Fashion Weekspectacle ofnow infamous New York Times T Magazine editorial entitled ‘The Circus of Fashion’, veteran fashion journalist Suzy Menkes, SuzyMenkes reminiscences about the relative austerity that used to define her industry. ‘We were once described as “black crows”, she writes, ‘ – us fashion folk gathered outside an abandoned, crumbling downtown building in a uniform of Comme des Garçons or Yohji Yamamoto, YohjiYamamoto. “Whose funeral is it?” passers-by would whisper with a mix o

“We Also Should Walk in the Newness of Life”: Individualized Harlem Style of the 1930s

Carol Tulloch

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

Book chapter

With the visual arts of the 1920s and 1930s anchored by black peoples, we can recollect and reimagine this twentieth-century moment when Harlem was not only “in vogue”, or “on the minds” of a complacent few, but also a geo-political metaphor for modernity and an icon for an increasingly complex black diasporal presence in the world.

Chanel and Her Rivals

Valerie Steele

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

Book chapter

Sandwiched between two world wars, between Poiret’s harem and Dior’s New Look, two women dominated the field of haute couture—Schiaparelli and Chanel.

Global Sourcing and Merchandising

Elaine Stone and Sheryl A. Farnan

Source: In Fashion, 3rd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

As the popular children’s poem states, “To market, to market, to buy a fat pig; home again, home again, jiggety jig.” Going to market can be an exciting and different experience, whether it is going to buy food, candy, sporting goods, or clothes. Most of us go to market with great expectations and plans, and once home, sometimes the purchase is perfect and other times it is just not right.

Michael Kors

Paula Alaszkiewicz

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Hip-Hop

Shayla Corinne Black

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Hip-hop is a multifaceted genre of twentieth-century music, whose influence has expanded from the streets to the runway. It is a global phenomenon embraced by millions. Hip-hop began in the Bronx, New York and was forged by black youth as a form of artistic expression. Groups like Run-D.M.C. were iconic with their trademarks: Adidas sneakers, tracksuits, bucket hats, and gold rope chains. The fashion world avidly participated by appropriating the bright colors, athletic wear, loose-fitting garmen

Christian Dior

Lauren Bowes

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Edie Sedgwick

Stephanie Kramer

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

In the canon of fashion tastemakers, Edie Sedgwick remains both a legend and a mystery. In her short twenty-eight years, the Santa Barbara, California native was a socialite, heiress, artist, actress, model, New York scenester, and 1965’s anointed “Girl of the Year.” From her affiliation with Andy Warhol and the artistic community of the Factory to her collaboration with designer Betsey Johnson, to her stints as a model for Vogue, Sedgwick’s contribution to the world of fashion was undoubtedly a

Debbie Harry

Stephanie Kramer

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The veritable godmother of new wave music, Debbie Harry’s impact on the world of fashion is perhaps tantamount to her musical legacy. The lead singer of pioneering band Blondie, Harry brought a unique sense of glamour and sophistication to New York’s punk scene that emerged within the city’s seedy Bowery neighborhood in the 1970s. A female performer immersed in the primarily male environment of the legendary rock venue CBGB, Harry’s trailblazing musical persona was a paradoxical combination of el

Kim Gordon

Stephanie Kramer

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

As the sole female member of the pioneering New York alternative rock band, Sonic Youth, Kim Gordon’s personal style emerged out of her desire to perform on the same physical level as her male band mates, while simultaneously conveying her unique female perspective. Upon forming Sonic Youth in 1981 with musician and future husband Thurston Moore, Gordon’s style transformed into a preppy-girl-meets-tomboy fashion aesthetic. Countless designers, ranging from Marc Jacobs to Kate and Laura Mulleavy o

Donna Karan

Sandra J. Ley

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Betsey Johnson, Spring/Summer 1986

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Presented at the Palladium nightclub in New York City, Betsey Johnson’s spring/summer 1986 collection depended on many of her signature tropes—her usual use of romantic stylings such as petticoats, crinolines, bustiers, and lace combine with kitschy accessories like kitchen utensils, baggie boxes as hats, baby bottle earrings, and feather dusters, creating a look that teases ideas of the feminine—the romantic femininity of the materials and silhouettes mixes with the traditionally female role of

Carolina Herrera

Emily M. Orr

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Dancewear on the Catwalk, 1970s–2000s

Katerina Pantelides

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This article describes the influence of dance practice and performance clothing on fashion ca.1970–2005. It begins with an exploration of historic correspondences between fashion and dance, and then considers how the so-called “dance boom” in 1970s New York, which flooded both the City and fashion editorial pages with professional and amateur dancers, inspired fashion designers, photographers, and stylists to blur the boundaries between dance practice wear and quotidian dress. The article also de

Vivienne Tam, Spring/Summer 1999

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Vivienne Tam (born 1957) is a New-York based designer who was born in China and grew up in Hong Kong. Her work has been a continuous experimentation in mixing and matching visual languages from the East and the West. Tam’s presentation for the spring/summer 1999 runway shows off her signature bilingualism, with images including Guanyin, the goddess of mercy, and the lotus flower combined with a relaxed, sporty style seen through the repeated use of windbreaker jackets in various prints and colors

The Costume Institute at The Metropolitan Museum of Art: An Evolving History

Harold Koda and Jessica Glasscock

Source: Fashion and Museums. Theory and Practice, 2014, Berg Fashion Library

Book chapter

By 1938, 400 objects had been assembled and Bernstein was presenting a series of talks on costume history. Lewisohn headed the Museum’s committee, planning it as “a source of authentic information and inspiration to stylists, couturiers, designers, and manufacturers” (New York Times 1937: 28). They were joined by textile authority M.D.C. Crawford, who had been instrumental in starting the Design Laboratory (the Brooklyn Museum of Art’s costume study collection), the production designer Lee Simons

Designer Perspective

Gabi Asfour and Adi Gil

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

This New York City-based avant garde label was originally established in 1998 as ASFOUR, consisting of four designers: Gabi Asfour, Angela Donhauser, Adi Gil and Kai Khune. In 2001, the label won the Ecco Domani Fashion Grant given to innovative designers in the fashion industry. In 2005, Khune left the group to pursue his own label and the three remaining designers continued under the new title threeASFOUR. The experimental designs produced by threeASFOUR have been purchased and displayed by num

Designer Perspective

Maria Cornejo

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

Maria Cornejo’s varied career spans London, Paris, Milan and Tokyo, where she was part of the ground-breaking design partnership Richmond Cornejo. She then developed her own signature ‘Maria Cornejo’ collection and worked as a creative consultant for major retailers Joseph, Tehen and Jigsaw.

Chapter six: Fashion in the Global Marketplace

Jay Diamond and Ellen Diamond

Source: The World of Fashion, 5th Edition, 2013, Fairchild Books Library

Book chapter

In the fashion business, everything is so temporary. Beautiful for three or four months, then you’re tired of it.

Point of View

Fiona Dieffenbacher (ed)

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

Colleen Sherin, Senior Fashion Director Saks Fifth Avenue

The fashion machine

Susan Dillon

Source: The Fundamentals of Fashion Management, 2012, Fairchild Books Library

Book chapter

The fashion calendar is a key component in the organization of the fashion industry. It is the tool that facilitates the smooth running of the global fashion network, ensuring that events do not overlap but are also close enough together to enable a buyer to make an extended trip each season to see what is on offer in the fashion capitals of the world. With the advent of the Internet there are many companies publishing this information online and providing their own versions of fashion calendars.

Fashion in Context

John Hopkins

Source: Fashion Design: The Complete Guide, 2012, Fairchild Books Library

Book chapter

Fashion is a multifaceted subject that can be linked to a range of sociological, cultural, psychological and commercial perspectives. Its complex nature makes simplistic definitions of fashion deceptively difficult. While fashion encompasses varying forms of clothing, accessories, lifestyle and behaviour at a given time, ‘fashion’ remains distinct from ‘dress’ or ‘costume’. A garment does not necessarily represent fashion just because it is a garment. Fashion may therefore be understood in the co

Branding, Fashion and Music

Janice Miller

Source: Fashion and Music, 2011, Berg Fashion Library

Book chapter

A kind of special status for creative people is part of a set of characteristics constructed in the nineteenth century by the writers, poets, composers and painters that Raymond Williams (1971) labels the ‘Romantic Artists’. Williams argues that a certain mystique and an almost stereotypical artistic personality were created by and around sets of individuals as a method of resistance to encroaching industrialization.

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