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Dartless Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Dartless designsblouse and shirt silhouettesBodice and blouse designsdartless blouseThe silhouettes within this chapter offer timeless, simple silhouettes that are used in designing blouses, vests, or dresses that do not require the use of a bust-fitting dart. These silhouette shapes can be made short or extended to the length desired, depending upon the design. Various styles may use details such as numerous neckline shapes, collars, yokes, stylelines, tucks, added fullness, and different sleeve

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: Terms, Descriptions, and Characteristics

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

The word tweed began to be used to denote woolen cloths from Scotland in the twill weave from the 1830s.The Satirist, September 2, 1838, front cover. Before that decade, its only form was the proper noun, Tweed, which is the name of a river that flows through the Scottish Borders region. That river became well known throughout Britain and to an extent, Europe, in the early nineteenth century because of its close associations with the famous writer, Sir Walter Scott, who lived near it.D.Watson, “T

Tweed, Femininity, and Fashion, 1851–1918

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Prior to the early 1850s, Scottish woolen manufacturers predominantly catered to the ladies’ trade through the weaving of shawls and fine, merino dress fabrics that were known as ““cloakings”cloakings,” as noted in Chapter 3. In 1863, Locke, JamesJames Locke described recent changes in the Scottish woolen industryScottish woolen industry, by stating: The Scotch tweed trade then may be divided into three distinct sections- viz. tweeds, shawlsshawls, and cloakings. The last of these came to their c

Sportswear Chic: Tweed in Womenswear, 1919–1952

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Detailed statistics about the proportion of British tweeds, which were consumed by women, or made specifically for the female market between 1919 and 1952 are not available. However, estimates from key Scottish woolen industry bodies and a government study give a useful indication about the picture within Scotland up to 1946. The visit of the Scottish Woollen Trade Mark Association (SWTA)Scottish Woollen Trade Mark Association to the USA and Canada toward the end of 1921 prompted an article in Ga

Image Consulting

Shannon Burns-Tran and Jenny B. Davis

Source: Style Wise. A Practical Guide to Becoming a Fashion Stylist, 2nd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Image consultingImage consultantIn this chapter you will learn:

Wearers and Wardrobes

Sheila Cliffe

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

Book chapter

Wardrobe(s)Wardrobe(s)wardrobe studiesThe fashion fashionsystemsystem is realized in the creation of the fashion items, and in their diffusion to the public through mediamedia images. However, a fashion system does not exist without fashion leaders and followers. If there are no wearers, then there is no fashion. This chapter investigates kimono wearing practice through a wardrobe survey of kimono wearerskimono wearers, discussion of kimono group(s)groups, and also through interviews with kimono

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?

Designs, Brands and Trends—To Leave a Mark

Jenny Lantz

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

Book chapter

The 1990s and 2000s were characterized by the emergence of “fast fashion.” With more efficient buying and distribution processes, mass-market fashion chainsmass-market fashion chains, such as the pioneering Spanish firm Zara, could get their clothes into their stores much more quickly than ever before. Fast-fashion chains broke with the seasonal model that had earlier dominated the industry, offering new goods every week. By transferring production to low-cost countries, primarily in Asia, where

Global Women's Apparel

Elaine Stone and Sheryl A. Farnan

Source: The Dynamics of Fashion, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Children's apparel,history of,For thousands of years, people made their own clothes, often even producing the raw materials and converting them into textiles with which they could sew. Until the mass manufacturing of clothing began, sewing was considered women's work, except for the clothing of the wealthy man, who wore “bespoke” handmade garments from a male tailor who specialized in men's high-fashion apparel.

Innerwear, Bodywear, Legwear

Elaine Stone and Sheryl A. Farnan

Source: The Dynamics of Fashion, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

In the past, the manufacturing and marketing of men's and children's underwear was driven by considerations of practical functionality, but lately, these segments of the apparel industry have also felt the impact of fashion. Through mergers and acquisitions, producers of men's and children's underwear have become divisions of more diversified apparel firms. This trend is discussed later in this chapter.

Defining the Customer

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

The importance of focusing on a specific market and customer is directly linked to the job search process. Each clothing company has a reputation for a particular kind of clothing. This is not to say a company cannot make more than one product. Those that have divisions or licensees offer a variety of merchandise. Some companies have diffusion or secondary lines that capture “the look” the designer is known for while serving a different price point and category. For example, Ralph LaurenRalph Lau

Here: The Haunting Joy of Being in England

Carol Tulloch

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

Book chapter

[T]he past has to be taken apart. Old themes are worn as new details.

Coda

Carol Tulloch

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

Book chapter

The Birth of Paris Fashion

Valerie Steele

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

Book chapter

Le travail des modes est un art: art chéri, triomphant, qui dans ce siècle, a reçu des honneurs, des distinctions. Cet art entre dans le palais des Rois, [et] y reçoit un accueil flatteur.

Liberty of Dress

Valerie Steele

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

Book chapter

Nulle personne de l’un ou de l’autre sexe ne pourra contraindre aucun citoyen ni citoyenne à se vêtir d’une manière particulière, chacun étant libre de porter tel vêtement et ajustement de son sexe que bon lui semblera, sous peine d’être considéré et traité comme suspect, et poursuivi comme perturbateur du repos public.

Fashion in Balzac’s Paris

Valerie Steele

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

Book chapter

La toilette est l’expression de la société.

Fashioning the Parisienne

Valerie Steele

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

Book chapter

J’ai sous les yeux une série de gravures de mode. Ces costumes presentent un charme d’une nature double, artistique et historique.

The Theater of Fashion

Valerie Steele

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

Book chapter

Nous savons donc beaucoup de gré à mademoiselle Nathalie des sacrifices qu’elle fait pour ses costumes; de beaux habits sur de jolies femmes, rien n’est plus charmant.

The Private Life of Paris

Valerie Steele

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

Book chapter

Dans ces sphères élevés le role de la femme est tout de charme et de seduction. Elle n’a d’autres devoirs à remplir que ceux qui lui sont imposés sous le nom des devoirs de société.

La Mode Retrouvée

Valerie Steele

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

Book chapter

Chacune de ses robes m’apparaissait comme une ambiance naturelle, nécessaire, comme la projection d’un aspect particulier de son âme.

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.

Fashion under the Occupation

Valerie Steele

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

Book chapter

The house of Jacques Heim is no longer a Jewish house.

Ups and Downs of Paris Fashion

Valerie Steele

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

Book chapter

Nous sortions d’une époque de guerre, d’uniformes, de femmessoldats aux carrures de boxeurs. Je dessinai des femmes-fleurs, épaules douces, bustes épanouis, tailles fines comme lianes et jupes larges comme corolles.ChristianDior, Christian Dior et moi (Paris: Amiot-Domont, 1956), p. 35. Translation in text by Valerie Steele.

Twelve: Cobranding Fashion for the Masses: Topshop/Topman

Joseph H. Hancock

Source: Brand Story. Cases and Explorations in Fashion Branding, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Celebrity collaborations are global and far-reaching. Great Britain’s version of UNIQLO and H&M is Topshop/Topman. But Topshop/ Topman has done things a little differently by taking the discount model and giving it a little more panache and style. This retailer has branded itself as the complete one-stop shop for one’s entire wardrobe, hair, makeup, and even eyebrows.

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