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Véronique Branquinho

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Film Stars as Fashion Icons

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Cinema’s new ‘celebrity’ stardom, within a Western context, is qualitatively different from previous forms of fandom or star emulation. In consequence, the existing theories of stardom (Stacey 1994; Gledhill 1991), sometimes co-opted from film studies to explain modern celebrity culture, are not really sufficient, although, as this book will suggest, Richard Dyer’s idea of ‘the ordinary’ has a new relevance in this rather different context (1978/1998). Film studies within the academy must somehow

‘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.

Bollywood Fashion

Vandana Bhandari

Source: Berg Encyclopedia of World Dress and Fashion. South Asia and Southeast Asia 2010

Encyclopedia entry

In its early years, Indian cinema showcased the culture and traditions of the country, with mythology, religion, and history providing the predominant themes. The custom of wandering minstrels who would narrate legends and stories from the epics in villages, fairs, and marketplaces was an integral part of Indian culture. Dance and drama were a necessary component of the storytelling tradition, and the roots of Indian cinema go back to this. One of cinema’s earliest exponents was Dada Saheb Phalke

Film and Fashion

Stella Bruzzi

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Historical Dress in French Film

Jennie Cousins

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

Encyclopedia entry

Films featuring recreations of historical dress have long been a staple of French cinema. Genres such as the war film, the historical film, and the colonial film all frequently feature costumes informed by the past, yet it is the costume drama that has come to be most readily associated with historical dress. Indeed, in this type of film, costume has become inseparable from drama. Despite falling in and out of favor with film critics, academics, and audiences alike, the costume drama has never be

Film

Patricia Campbell Warner

Source: Berg Encyclopedia of World Dress and Fashion. The United States and Canada 2010

Encyclopedia entry

Perhaps nothing in the twentieth century has influenced North American clothing more than film or, to use the more prosaic term, the movies. Many authors have written about the role of the designer throughout the past hundred years, claiming that the fashionable style and look comes essentially from that rarified source, but a close look at the history of the movies and their pervasive role in modern society suggests otherwise. From their beginning in the 1890s, films have fascinated, captivated,

Film and Fashion in Post-Mao China

Juanjuan Wu and Yao Chen

Source: Berg Encyclopedia of World Dress and Fashion. East Asia 2010

Encyclopedia entry

All of the streets would be dyed blue from 5:30 AM to 7:30 AM every day in China, because millions of people wearing blue coats go to work by bicycle. All of the roads of the whole city seem to be occupied by bicycles. You can imagine eight million Chinese riding bikes pass you at that moment.

Holly Golightly and the Fashioning of the Waif

Gabrielle Finnane

Source: Fashion in Fiction. Text and Clothing in Literature, Film, and Television 2009

Book chapter

In Christopher Isherwood’s 1939 novel Goodbye to Berlin, Sally Bowles is a creature of color whose clothing, which can be grubby, always has something eye-catching: “She was dressed in black silk, with a small cape over her shoulders and a little cap like a page boy’s stuck jauntily on one side of her head.” As the narrator, also called Christopher Isherwood, watches her dial a phone number he notices “her fingernails were painted emerald green, a colour unfortunately chosen for it called attenti

Becoming Neo: Costume and Transforming Masculinity in the Matrix Films

Sarah Gilligan

Source: Fashion in Fiction. Text and Clothing in Literature, Film, and Television 2009

Book chapter

Film and Fashion

Alba F. Aragón

Source: Berg Encyclopedia of World Dress and Fashion. Latin America and the Caribbean 2005

Encyclopedia entry

Attempting a full account of film and fashion in the two dozen nations of Latin America is a daunting task. The mere concept of regional and even national cinemas in Latin America is subject to debate, while the question of what Latin American fashion is has only begun to be addressed by scholars. The development of film in Latin America has been uneven and multifaceted. Often, films produced in Latin America have been purveyors of foreign fashion trends. Occasionally, they have sought to documen

Dress in Mexican Cinema

Isabel Arredondo

Source: Berg Encyclopedia of World Dress and Fashion. Latin America and the Caribbean 2005

Encyclopedia entry

Despite Mexico’s ethnic and social diversity, Mexican films, especially those made during the classical period (1936–1957), propose a unified cultural identity around the notion of mestizo or mixed-race origin. Mestizo culture is the backbone of Fernando de Fuentes’s Vámonos con Pancho Villa (1935) and Allá en el rancho grande (1936), for instance, while in Emilio “El Indio” Fernández’s Flor Silvestre (1943) and María Candelaria (1943), indigenous dress is stripped of its cultural specificity and

Fashion and Cinema

Patrizia Calefato

English translation by Lisa Adams

Source: The Clothed Body 2004

Book chapter

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