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Designers and Models Become Brands

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

In 1921, Gabrielle ‘Coco’ Chanel launched one of the most successful scents of all time (Groom 1997: 21). The iconic oblong bottle for Chanel No. 5, still revered, was carefully designed to her own very strict specifications, and she selected its contents from several versions created by parfumier Ernest Béaux (Charles-Roux 2009). Meanwhile, once established as a designer, she herself also became a fashion leader; she was constantly photographed and always mindful of publicity, whether it was in

‘Fashion Films’: From Prêt-à-Porter to A Single Man

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

–Hugo Grumbar, head of Icon Distribution in the United Kingdom (Clark 2010: 9)Tom Ford has a huge loyal following. Any Vogue reader, GQ, Elle, Vanity Fair … they all know who he is, and there’s always hot anticipation for the next thing he does. I thought he was very marketable.

Contemporary Television: So Many Celebrities, So Little Fashion?

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Reality television is very much to the fore within the new discipline of celebrity studies, partly because it has stripped the word celebrity of its original meaning. There are the shows that create celebrities from those who were formerly unknown: there are now other, very popular shows which deploy these same figures in a different capacity: Dancing with the Stars/Strictly Come Dancing; Celebrity Duets; I’m a Celebrity—Get Me Out of Here! Shows in this mini-genre use the new reality celebrities

Music and Fashion Forge Links

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Janice Miller’s recent book Music and Fashion (2011) is a fascinating and long-overdue study of the relationship outlined in the title. What is interesting is that no one had formerly set out to explore the subject in depth, apart from the odd article here and there (see Miller 2011; McLaughlin 2000, 2011) and Stan Hawkins, who focuses in his book upon masculinity and the British pop dandy (2009). Not all of the musicians Miller discusses in her text could be called celebrities; in fact, many of

Fashion Journalism

Kate Nelson Best

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

Encyclopedia entry

Fashion journalism embraces all kinds of media commentary, but primarily newspaper and magazine articles, about the fashion industry, those who populate the fashion world, and fashion itself. As such, it has commercial, ideological, and symbolic functions that have remained unchanged since the mid-1800s.

Introduction to Global Perspectives

Joanne B. Eicher

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives 2010

Encyclopedia entry

Dressing the body, a culturally and economically important activity, involves spending resources on the presentation of self, wherever one lives or shops. Dressing, however, goes beyond wearing clothing; human imagination creates infinite possibilities. How the body was dressed may have been more experimental in the early days of the human species than we imagine today. Early in human history, individuals made their own apparel or lived with the people who did. Today, personal production has grea

Fashion Advertising

Paul Jobling

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Diversity Contested

Emma Tarlo

Source: Visibly Muslim. Fashion, Politics, Faith 4th Edition 2010

Book chapter

In September 2002, Shabina Begum, a thirteen-year-old British Muslim girl of Bengali origin, arrived at Denbigh High School in Luton where she was a pupil, dressed not in the school uniform but a jilbab and hijab. She was accompanied by two young men, one of whom was her brother, who spoke to the assistant Head Teacher of the school, insisting that Shabina should be allowed to wear her jilbab in school as this was the only garment that met her religious requirements. He talked of human rights and

Paul Poiret's Minaret Style: Originality, Reproduction, and Art in Fashion

Nancy J. Troy

Source: Classic and Modern Writings on Fashion 2nd Edition 2009

Book chapter

During his visit to America, Mr. Poiret was much astonished to see advertised in various shop windows Poiret gowns which he himself had never seen before. Needless to say, Mr. Poiret quickly identified these gowns as never having emanated from his establishment and the labels which were sewed in them as nothing but counterfeits of his original label. He immediately placed the matter in the hands of his attorney, who started an investigation which revealed the fact that not only were Poiret labels

The Global Diffusion Mechanism of French Fashion: Past and Present

Yuniya Kawamura

Source: The Japanese Revolution in Paris Fashion. Dress, Body, Culture 2004

Book chapter

One’s good reputation is the measure of talent and creativity. In order to create that reputation or prestige, the works must first be exposed for evaluation and then go through a system of validation although consequences are not always positive. Without reputation, it is difficult to prove one’s design skills. Perrot (1994: 40) explains the importance of the designer’s reputation in the nineteeth century: Talent was a pretty slim asset unless it was associated with a reputation, a name at first

Communicating Goth: ‘Traditional’ Media

Paul Hodkinson

Source: Goth. Identity, Style and Subculture 2002

Book chapter

It should be clear from the discussion in Chapter 6 that mass and niche media played a key role in the initial construction of the goth scene during the early to mid-1980s. In particular the niche-music press constructed and then re-emphasized the boundaries of the scene again and again through regular coverage of goth bands and their fans. Niche or mass-media coverage of the goth scene also played a role, throughout the 1980s, in the recruitment of new participants to the music, the style and th

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