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Orientalism in Fashion

Osman Ahmed

Source: Fashion Photography Archive 2015

Article

This essay explores the relationship with fashion and Orientalism as a modern study of Western culture, as well as an ancient dialogue between East and West that has laid the foundations for the modern fashion system. Designers discussed include Paul Poiret, Yves Saint Laurent, and John Galliano, who each represent various waves of Orientalism and the changing ways in which its appearance in fashion collections contributed to the course of fashion and design history.

Makeup on the Catwalk from the 1970s to 2000

Geraldine Biddle-Perry

Source: Fashion Photography Archive 2015

Article

This article is an exploratory history within a history of the catwalk since the 1970s. It examines the centrality of makeup to shifting systems and structures of catwalk performance and spectacle, but it is not a trend-by-trend analysis of cosmetic practices and products. Rather, the aim is to examine catwalk makeup as a generative force within the wider transformation of fashion image as commodity and cultural form in the latter decades of the twentieth century.

Adam Ant

José Blanco F.

Source: Fashion Photography Archive 2015

Article

In the early 1980s, pop musicians embraced historicism in their performance attire. Adam and the Ants, a new wave band based in London, donned clothing inspired by historic military outfits, nineteenth-century dandies, and pirates. They were among the recognized leaders of the New Romantics movement, a London youth subculture known for its taste for eccentric fashion. The band was formed in 1977 and achieved fame with a streak of successful albums, particularly Kings of the Wild Frontier (1980) a

Article

The omnipresent significance of the eighteenth century and the masked ball for the House of Dior found expression in the design of “Angie” for the “Masquerade and Bondage” collection, a short variation on 1760s court dress, paraphrasing the fashionable life and cruel fate of Marie Antoinette. Using the surface of the hip panels as a canvas for narrative and caricaturized embroideries, the dress becomes an epitome of storytelling through dressmaking, evoking crucial episodes of French history. Gal

Alexander McQueen for Givenchy, Fall/Winter 2000

Lydia Edwards

Source: Fashion Photography Archive 2015

Article

“I can’t be too literal with my references,” Alexander McQueen said in 2000, when asked to pinpoint the theme of a recent collection. “It’s a number of references culminating together to make one idea.” Nevertheless, with a researched family history dating back to the 1500s, McQueen always acknowledged that “Every part of my background comes from something, be it the Jacobites or the Huguenots,” and influences from Giovanni Bellini to André Courrèges can be glimpsed in his collections. The pieces

Mitsuhiro Matsuda

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Jean Paul Gaultier Menswear, Fall/Winter 1989

Tony Glenville

Source: Fashion Photography Archive 2015

Article

It is firstly important to put Gaultier within the context of his times. From the first catwalk show he was considered an “enfant terrible” yet at the same time a superb craftsman, and a designer who acknowledged the history and heritage of French fashion. His view of the world was from Paris and however much time he spent time in London and declared his admiration for London club culture and youthful attitudes to style, he remains a designer whose reference points span Madame Grès to Barbès Roch

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1990

Michelle Honig

Source: Fashion Photography Archive 2015

Article

In this collection, presented in the Champs-Élysées cinema, Karl Lagerfeld introduced the “slope,” a new iteration of the Chanel jacket that featured a narrow-fitting shoulder line. The clothes were influenced by a combination of eighteenth-century robes à la française and the mod 1960s, with open panniers that revealed miniskirts and thigh-high boots. The playfulness of the collection spoke to the young and daring attitude of the new couture customer. For the finale, Lagerfeld presented three br

André Leon Talley

Stephanie Kramer

Source: Fashion Photography Archive 2015

Article

At 6 ft. 6 in. (198 cm) tall and with a thirty-year tenure at Vogue, André Leon Talley is certainly one of fashion’s most imposing figures. An authority on fashion history, Talley’s expertise has been a crucial aspect of his work and has also deeply informed his own personal style. As designer Tom Ford observed, “He is one of the last great fashion editors who has an incredible sense of fashion history. He can see through everything you do to the original reference and predict what was on your in

Byblos

Elizabeth Kutesko

Source: Fashion Photography Archive 2015

Designer Biography

Zandra Rhodes, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive 2015

Article

Rhodes’s spring/summer 1984 collection made its debut in London’s Ritz Carlton hotel. Having studied textiles before designing fashion, Rhodes’s garments utilize fabric with a high degree of detail and craftsmanship. This collection was no exception, with dresses made of embroidered chiffon, metallic sequined ensembles, and dresses encrusted with hanging pearls and crystals, all in pastel color schemes accented with blazes of magenta and deep cerulean. While a few typical 1980s body-conscious, sh

Vivienne Westwood, Spring/Summer 1993

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Based on a thorough and careful understanding of fashion history and its great designers, yet delivered with bold, bright colors, extravagant accessories, and even nudity, Vivienne Westwood’s collection for spring/summer 1993 demonstrates her nuanced mastery of her art. The collection was shown in Le Grand Hôtel, Paris: the first time Westwood had used this location, where she would go on to host several further shows.

Vivienne Westwood, Spring/Summer 1984

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Models raise their hands in the air as victorious athletes. The stripes that accent their clothing increase the perception of speed and movement as they walk the catwalk, sportily kicking the air as they traverse. Vivienne Westwood’s spring/summer collection of 1984 was named after the ancient Greek personification of sleep, Hypnos, yet deliberately contrasted its namesake with bold, illuminating, and awakening flashes of neon, in a gesture of defiance that is typical of Westwood’s oeuvre.

Jean-Louis Scherrer

Emily M. Orr

Source: Fashion Photography Archive 2015

Designer Biography

Corset, Thierry Mugler, ca.1996

Amanda M. B. Pajak

Source: Fashion Photography Archive 2015

Article

Fashion and perfume designer Thierry Mugler, born in Strasbourg, France on 21 December 1948, was trained at the Strasbourg School of Decorative Arts and came to critical prominence in the early 1970s as a freelance designer working for a variety of fashion houses in Paris, Milan, London, and Barcelona. In 1978 he opened his first Paris boutique at the Place des Victoires. During the 1990s, a trend celebrating the brazen display of lingerie as outerwear was popularized by multiple designers, inclu

John Galliano, Spring/Summer 1994

Julia Petrov

Source: Fashion Photography Archive 2015

Article

From his graduation collection in 1984, John Galliano was known for staging historical narratives as part of his runway shows. His spring/summer 1994 collection was no exception. Dedicated to an imagined story of a princess named Lucretia and her escape from Russia, the show featured the princess’s theatrical transformation from a crinoline-wearing prisoner of tradition to a self-confident modern woman in figure-hugging outfits. The media attention and accolades following secured Galliano the men

John Galliano

Aimee Scott

Source: Fashion Photography Archive 2015

Designer Biography

Anna Sui, Fall/Winter 1993

Nadya Wang

Source: Fashion Photography Archive 2015

Article

For the fall/winter 1993 season, Sui blended together fashionable elements from late eighteenth-century France to Edwardian Britain. Despite the disparate elements involved, the looks that Sui created were still in keeping with a romantic, whimsical, and feminine aesthetic. Luxurious fabrics such as velvet and satin in dark fall colors contrasted with pastel shades, and the collection contained the most colors Sui had used up to that time. She went to great lengths to dye and sometimes re-dye the

Bibliographic guide

Dress, along with cloth, textiles, and adornment, has been an important part of the study of material culture in anthropology since the early times of the discipline, when the focus was on cross-cultural variation and the relationships between different parts of culture and their changes. Some earlier studies aimed specifically to record the significance of material culture in the face of change in a manner that sometimes has been described as “salvage anthropology.” A later generation of anthrop

Bibliographic guide

Sources employed for the study of dress history include documents, visual representations, and material artifacts. Documents include all manner of written records such as wills, inventories, wardrobe accounts, bills of sale, advice on dressing, as well as eyewitness accounts of how people dressed in the past. An early example would be the Roman historian Tacitus, who described the dress of the inhabitants of central Europe in Germania in 98 C.E. The visual record includes paintings, drawings, eng

Early History of Pattern Companies: 1860s–1880s

Joy Spanabel Emery

Source: A History of the Paper Pattern Industry. The Home Dressmaking Fashion Revolution 2014

Book chapter

Demorest, the first to mass-produce retail patterns for the home sewer in the United States, took advantage of the expanded postal services selling by mail order as well as in retail outlets. Who the actual designer of the first patterns was is somewhat unclear. Mrs. Margaret Demorest (née Poole) is listed as Mme Demorest in Leslie’s Lady’s Gazette of Fashion in July 1854. However, it is believed that William Jennings Demorest employed Ellen Louise Curtis and her sister Kate from the early 1850s

Introduction

Adam Geczy

Source: Fashion and Orientalism. Dress, Textiles and Culture from the 17th to the 21st Century 2013

Book chapter

We arrived at the opulent bazaars that form the centre of Istanbul, a solidly constructed stone labyrinth in the Byzantine style which served as a vast shelter from the daytime heat. Its huge galleries of arched and vaulted ceilings supported by sculpted pillars were in colonnades, each dedicated to particular kinds of merchandise. Most remarkable were the clothes and the female slippers [babouches], fabrics embroidered or in lamé, cashmeres, carpets, gold, silver or opal-encrusted furniture, the

Introduction

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

On a sultry summer day in Beijing in 2002, I was riding a taxi to a department store near Wangfujing. The store sold traditional Chinesestyle clothing, in which I was interested as part of my research on Chinese clothing styles. Suddenly, the taxi driver, a man in his forties, started yelling, “Ji (hooker)! Ji! [That] must be a ji.” Guided by his angry finger, I saw a tall slender young Chinese woman wearing a glaringly red backless silk halter-top secured with only two strings in the back, march

Conclusion: Clothing, Modernization, and Globalization

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

When the Chinese Communist Party decided to reform the Chinese economy in 1978, it started a fundamental shift in China’s economic structure from a state-owned and state-run planned economy to one that is composed of increasing shares of privately owned and foreign-owned sectors. China’s apparel industry is particularly illustrative of this trend. Since the early 1990s, China’s apparel industry has been dominated by non-state-owned sectors. Such a shift in China’s economic structure has created a

The Genealogy of the Turkish Pardösü in the Netherlands

R. Arzu Ünal

Source: Islamic Fashion and Anti-Fashion. New Perspectives from Europe and North America 2013

Book chapter

Three-quarter-length overcoats were the most commonly worn outdoor attire mentioned in the accounts of migrant women coming to the Netherlands in the late 1970s. A few Turkish women came alone as workers;most of them were the wives of guest workers and came as temporary residents. The first generation of migrant women described that particular style of overcoat as the first modern and şehirli(urban) item of outdoor clothing they had ever worn. These were relatively close-fitting overcoats, intend

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