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Catwalk Music

Janice Miller

Source: Fashion Photography Archive 2015

Article

Music is significant to the catwalk and its narratives, and has had a role in some of the catwalk’s most iconoclastic moments—from Ossie Clark’s “Revolution” shows of the late 1960s and early 1970s to Marc Jacobs’s 1993 show for Perry Ellis that was said to have “killed grunge.” Catwalk music may be bespoke, derivative, live, or recorded. Collaborations between sound designers such as Seigen Ono and Jeremy Healy and global fashion brands, have produced not only individual soundtracks, but also a

London as a Fashion City

Edwina Ehrman

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

Encyclopedia entry

London is part of a global fashion system, known in international circles for its fashion heritage and diversity, its hybrid sense of style, its vibrant consumer culture, and the creativity of its fashion graduates. It is equated with originality and experimentation and with styles that draw on a wide vocabulary of cultural references. The media tend to the innovative and radical, and the exposure given to designers who embody these qualities weights perceptions of London. The city plays a key ro

Youthquake Fashions

Joel Lobenthal

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Throughout the 1950s, British fashion was dominated by the Paris couture, and the long shadow it cast over London couturiers such as Norman Hartnell and Hardy Amies. British manufacturers followed the parameters laid out by the high end of fashion. But the emerging generation wanted something entirely different and entirely their own. They were out of sympathy with the mores of expensive made-to-order clothing. “The couture was for kept women,” said Barbara Hulanicki, who opened the London boutiq

Clark, Ossie

Judith Watt

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Clark’s copies of fashion pictures and ballet dancers showed skill. In 1958 he enrolled at the Regional College of Art in Manchester, where he was the only male student in the fashion course. The college emphasized technical training, so that Clark learned pattern cutting, construction, tailoring, and glove making—skills in which he excelled and which formed the basis of his distinctive style. In 1959 he saw a Pierre Cardin collection in Paris; he was struck by chiffon “peacock” dresses cut in wh

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