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Talitha Getty

Osman Ahmed

Source: Fashion Photography Archive 2015

Article

Talitha Dina Pol (1940–1971) was born in Bali. After moving to London in 1945, following a traumatic period spent with her birth mother in a Japanese POW camp, Talitha studied at Royal Academy of Dramatic Arts with hopes of becoming an actress. Young, beautiful, and exotic, she was courted and celebrated by London society, becoming the second wife of John Paul Getty Jnr., the son of oil tycoon Paul Getty, in 1966. She wore an all-white, mink-trimmed, hooded minidress that echoed the height of Swi

Valentino

Lauren Bowes

Source: Fashion Photography Archive 2015

Designer Biography

Victor Victoria

Katy Conover

Source: Fashion Photography Archive 2015

Designer Biography

Pink

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Associated with cultural symbols of affection and sensuality, the color pink has often been used to depict and challenge gender identities. On the catwalk, pink has appeared in the work of a variety of designers including Versace, Chanel, Stella McCartney, and John Richmond. From pastel shades to dazzling brights, pink has been a frequent trend across all seasons, whether used to create a splash of warmth in the winter or a spot of coolness in the summer. Featured both in womenswear and menswear,

Green

Emma Davenport

Source: Fashion Photography Archive 2015

Article

Associated with cultural symbols of balance and belonging, historically green has been worn to convey hope, good health, and the supernatural. Twenty-first-century concerns about the fashion industry’s impact upon the environment have seen the expression and ethos “Green is the new black” gain currency. On the catwalk, the color green has been used by a variety of designers such as Daniel Hechter, Isaac Mizrahi, Hyper Hyper, Sportmax, and Thierry Mugler. Since the 1970s, fashion trends associated

Bridal Wear

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Article

The evolution of the bridal gown, and its history, aesthetic, and rituals, are significant within our cultural history and have an influence on the contemporary wedding ceremony. Modern designers continue to be influenced by fashion history, or may reflect current styles and concerns. This article predominantly refers to the white wedding gown worn traditionally in Western Christian cultures, its heritage, and the wedding dress as archival object.

John Rocha

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Bill Blass, Spring/Summer 1993

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was a bit of a departure from Bill Blass’s previous collections, with critic Cathy Horyn noting that some of the pieces “seemed to come from out of the blue.” It took place in the designer’s showroom. The clothes were similar to what other designers were doing at the time, being feminine, blousy, and sheer. There were elements of overt sexiness, with a bubblegum pink dress edged in black lace and an ensemble of a black-and-white striped cardigan with the top buttons left open pair

Bill Blass, Spring/Summer 1995

Michelle Honig

Source: Fashion Photography Archive 2015

Article

Bill Blass’s 1995 spring/summer collection focused on color and short hemlines, clothes that he thought were “just pretty.” The dominant color was pink—a marker of femininity. That season, fashion looked to the golden age of Hollywood, the 1930s, for inspiration and Blass was no exception. However, while other designers created clothes with tight, long satin pencil skirts that hobbled movement, he ignored that trend and instead made fun and flattering clothes with a twist. His evening clothes wer

Byblos

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Ann Demeulemeester

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Sonja Nuttall

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Etro

Sandra J. Ley

Source: Fashion Photography Archive 2015

Designer Biography

Versace, Fall/Winter 1997 Couture

Tessa Maffucci

Source: Fashion Photography Archive 2015

Article

In July 1997, Gianni Versace presented his final couture collection at the Ritz Hotel in Paris just days before he was murdered. The theme of his final show seemed eerily prescient. Many of the models were dressed in black and several of the pieces were adorned with the motif of a Byzantine cross. Even a wedding look, worn by Naomi Campbell, hinted at feelings of the occult. Yet this final haute couture collection was a continuation of the subjects and details he had explored throughout his entir

Coco Chanel

Aimee Scott

Source: Fashion Photography Archive 2015

Designer Biography

Yohji Yamamoto

Vanessa Semmens

Source: Fashion Photography Archive 2015

Designer Biography

Blue

Shari Sims

Source: Fashion Photography Archive 2015

Article

Blue ranks as one of the most variegated shades of the fashion palette, from palest sky blue to blue-black navy. The wild plants (indigo) and precious gems (lapis lazuli) once used to create blue dyes have given way, for the most part, to synthetic chemicals. Designers have channeled bright blues during seasons of vivid coloration, or subtle washes of blue to suggest “no-color” color, with some of the richest colorations used in head-to-toe ensembles. Whether in the blue jean revolution of the 19

White

Shari Sims

Source: Fashion Photography Archive 2015

Article

“Pure white” may just be the oldest fashion statement of all time, harking back to Biblical angels and the earliest use of linen recorded by Ancient Egyptians some 4,000 years ago. In modern times, virtually every couture fashion house features fantastical visions of brides in white on the catwalk, while any view of streetwear from the 1970s onward could hardly be complete without the ubiquitous white T-shirt. Once, white collars and cuffs may have been the trappings of the landed gentry, but the

Red

Jane Webb

Source: Fashion Photography Archive 2015

Article

Wearing red is always meaningful but can be contradictory—it can stand for being good or bad, symbolize opposite ends of opinion in the political spectrum, take you home, or drive you to madness. That red is one of the oldest significant colors, yet remains dynamic and contemporary, is the greatest contradiction of all. In this article we consider whether despite its perpetual appearances on the catwalk in various guises, as singular and collective, abstract, decadent, primal, nostalgic, and spor

Givenchy Couture, Fall/Winter 1988

Aimee Williams

Source: Fashion Photography Archive 2015

Article

The year 1988 marked major events for Givenchy. In June, French conglomerate Louis Vuitton Moët Hennessey (LVMH) acquired Givenchy’s couture line. Hubert de Givenchy received his Lifetime Achievement award in October. The fall/winter collection’s focal points were texture and color. Rich greens, purples, and crimson saturated fluid fabrics like satin, velvet, and silk, with matching dyed mink, beaver, and fox coats and stoles. Large dyed feathers made an impact in evening wear, affixed to floor-l

Givenchy Couture, Spring/Summer 1997

Aimee Williams

Source: Fashion Photography Archive 2015

Article

Alexander McQueen’s 1997 premiere at Givenchy following John Galliano’s departure resounded notably during the spring/summer couture showings, heralding the “revival of couture.” Showing at the École Nationale Supérieure des Beaux-Arts in Paris, the Grecian-inspired collection acknowledged the house’s defining conventions with double-breasted ivory suits and straightened silhouettes that hit above the knee. A generally neutral to white palette of silk, finely woven feathers, and gossamer textures

As the chapters in this volume show, at the current conjuncture, an astonishing number of people in a striking number of cultural contexts have come to deploy jeans as a symbol of movement between social worlds and boundary crossing – be it generation, gender, culture, religion or class-inflected boundary crossing. In a world characterized by intensifying exchange and transposable goods, produced by the now ‘virtually universal intersection of (cultural) structures’, blue jeans seem to epitomize

Adapting Georg Simmel’s classic reflections on fashion, Daniel Miller and Sophie Woodward (2007: 341-2) have suggested that the near-global ubiquity of jeans offers people different ways of negotiating the conflicting socio-cultural forces of conformity and individuality. In Woodward’s British study, for instance, using a familiar and hardly spectacular example, jeans provided a ‘relief from the burden of mistaken choice and anxious self-composition’ that women continuously felt (Miller and Woodw

Yohji Yamamoto

Bonnie English

Source: Japanese Fashion Designers. The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo 2011

Book chapter

Yamamoto and Kawakubo brought the beauty of poverty to the most glamorous stage of the world—the catwalks of Paris. In their 1981 joint collection, they paraded garments which symbolized neediness, destitution and hardship—clothing that appeared to have been picked up from rag-bags. They were entirely black in colour and irregular in shape, with oddly positioned pockets and fastenings. Their size appeared voluminous, as if the space between the external garment and the body had been exaggerated,

The Limits of Jeans in Kannur, Kerala

Daniel Miller

Source: Global Denim 2011

Book chapter

Within the context of a study of global denim, South Asia is significant in representing perhaps the only remaining major region of the world where the wearing of jeans remains relatively uncommon. No one place can stand for South Asia, but an advantage of Kannur, a town in northern Kerala, is that at least for that state, it represents in the minds of its inhabitants, a clear position midway between the cosmopolitanism of the metropolis and the conservatism of the countryside. As such, many peop

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