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Sneakers as Fashion: Reclaiming Masculine Adornment

Yuniya Kawamura

Source: Sneakers. Fashion, Gender, and Subculture, 2018, Berg Fashion Library

Book chapter

Fashion is considered as a complex social practicepractice in which challenges to reform male appearances are sometimes made by figures with the powerpower to expect obedience. Men have also used their appearance as a strategy of refusal or disinterest in the dominant culture that surrounds them. Others have been reformers who tried to convince the populace that their model of dress would lead to better social relationships. (McNeil 2009: 15)

The Sneaker Subculture From Durkheimian Perspectives

Yuniya Kawamura

Source: Sneakers. Fashion, Gender, and Subculture, 2018, Berg Fashion Library

Book chapter

practicetheory andWhat is the purpose of explaining a subculture from a theoretical viewpoint, such as Durkheim’s? There is no sociologysociology without a theory. A social phenomenon without a theory would be a simple description of what goes on around us. As Mills, C. WrightMills (1959) argues, if theory is not connected to practical research, it remains abstract without any concrete evidence and is therefore meaningless. It has to be able to represent people’s ways of living. Similarly, resear

Brief history of contemporary fashion

Chelsea Rousso and Nancy Kaplan Ostroff

Source: Fashion Forward. A Guide to Fashion Forecasting, 2nd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

The “spirit of the times,” or zeitgeistzeitgeist, refers to the current state of culture: the expression of the present. The mode of an era is determined by a complex mixture of historical, social, psychological, and aesthetic factors. During each era, creative artists and designers are inspired by current influences that they interpret into innovative ideas and products. It is not surprising that there are commonalities that influence an era. New aesthetics, newaesthetics can often be found in v

Punk Style Motivations and Explanations

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

There is no simple way to answer the question “why does someone dress in a punk style?” Motivations cannot be entirely quantified, however there are dominant themes that drive many to make stylistic choices toward a punk look. Punk style is a way to express individual identity, as it addresses internal emotions as well as lifestyle choices and position within society. The individual choosing punk dress may be expressing internal feelings as well as trying to find external recognition for his or h

Summary of Punk Style

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

Original punk looks were solidified in the eyes of outsiders and the media, and became cues for insiders and for following generations. However, the look is not as much of a uniform as observers would come to stereotype. While punk style has simultaneously maintained some of its original subcultural intent, it has also developed mass appeal, perhaps in an adulterated or appropriated form. This mass image then cyclically helps solidify the stereotypical vision of punk style including such images a

Feminist Ideologies in Postmodern Japanese Fashion: Rei Kawakubo Meets Marie Antoinette in Downtown Tokyo

Ory Bartal

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present, 2017, Berg Fashion Library

Book chapter

In the 1970s, the modernistic social paradigm collapsed in many post-industrial countries. In Japan, it resulted in the falling apart of the homogeneous culture that hailed collectivism. Various groups began to form. In 1970s Tokyo, the Karasu-Zoku (raven tribe) emerged as a parallel to the British Punk movement. Alongside the karasu-zoku was the an-non-zoku, a young and fashionable “tribe” consisting of women who enjoyed reading the mass communicationmagazinesmagazines an-an and non-no. The idea

Two: Thinking Critically: A History and Conceptual Examination of Fashion Branding

Joseph H. Hancock

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

Book chapter

New ads began to appear showing clothing that reflected the current fashion, with each advertisement trying to vie for the almighty dollar. At this time the French philosopher Roland Barthes suggested that advertising was creating a new level of existence for fashion. Barthes developed a theory that has since been called “The Fashion System,” which states that a garment is present at three distinct levels: the real garment or actual thing; the terminological garment, which signifies the basic ter

A Brief Overview of Modern Designing

Karl Aspelund

Source: Designing. An Introduction, 2015, Fairchild Books Library

Book chapter

Designers Speak

Introduction

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

And now the art world has become so big and stars seem to come and go as swiftly as reality television characters in Hollywood …

What is Fashionable Art?

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

the erosion of the older distinction between high culture and so-called mass or popular culture. This is perhaps the most distressing development of all from the academic standpoint, which has traditionally had a vested interest in preserving a realm of high, or elite culture against the surrounding environment of philistinism, of schlock, and kitschkitsch, of TV series and Reader’s DigestReader’s Digest culture, and in transmitting difficult and complex skills of reading, listening and seeing to

Less is Less: Formlessness

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

formlessnessWell, concerning civility or public morality, you can now see what’s happening in art. For any art exhibition in London, for example, to be effective, it must be something disgusting: show some dead fish or the excrement of cows. At one exhibition, my god, they showed a video of a colonoscopy. Today, more and more, the cultural-economic apparatus itself has to incite stronger and more shocking effects and products. These are the recent trends in the arts. But the thing is that transgr

Ann Demeulemeester

Elizabeth Kutesko

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Stephen Sprouse

Elizabeth Kutesko

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Dirk Bikkembergs

Elizabeth Kutesko

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Dries Van Noten

Sandra J. Ley

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Fetish

Frenchy Lunning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This article discusses the origins and history of fetish fashions (and gives an explanation of forms and functions) from the late nineteenth century to the early twenty-first century. Beginning with late nineteenth-century Paris, when these forms came into play, it tracks the development through modernist culture and into the postmodern culture of the late twentieth and early twenty-first centuries, noting the similar cultural conditions of gender instabilities and roles. It explains how fetish f

A Narrative of Jazz Modernity

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation, 2015, Berg Fashion Library

Book chapter

postmodern identity, in jazzidentity(ies)postmodern in jazz“Satchmo at the Waldorf”“Lady Day at Emerson’s Bar & Grill”“Jazz Urbane”Holiday, Billie“Lady Day at Emerson’s Bar & Grill”classic jazzIn popular culture, jazz is situated in an environment beyond the 1960s stage of fusion, divergence and division, where it is now elevated, revered and presented as a nostalgic art form that conveys an ingenious past. Music scholars of the twenty-first century have applied numerous definitions to this perio

The Handbag from the 1970s to 2000

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The need to collect, carry, and contain one’s belongings has existed for as long as humanity. From sacks to hold prehistoric flint and pouches for early coins to purses with contemporary cosmetics, various types of handbags have appeared in art and writing throughout history. While always fulfilling a practical function, handbags have also evolved with changing needs. They can be signifiers of fashion, social status, and even psychological state, as they mediate the boundaries between interior an

Fendi, Spring/Summer 1988

Alexis Romano

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Fendi was an important feature of the globally renowned, flourishing 1980s Italian fashion landscape, yet it retained its original status as one of the traditional accessories brands that helped shape Italy’s classification as a historic center of artisanal, high-quality craftsmanship. Fendi’s 1988 collection, with Karl Lagerfeld at the helm, was at once bold, whimsical, ironic, and rebellious in terms of color, motif, silhouette, and accessories. It was a celebration of postmodernism, which in t

1970s Style: Key Themes and Trends

Jo Turney

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The 1970s established fashion as performance, an element of cultures of display in which the street became catwalk (and vice versa), fusing fashion with media such as music, dance, film, and art. It was a decade of imagination and individuality, resulting from newfound social and personal freedoms (Tom Wolfe dubbed it the “Me” decade) which combined with a sartorial knowingness created a new confidence in the presentation of the self—anything was possible and the only limits were of one’s imagina

1944–2011: Postwar Revivalism and Transorientalism

Adam Geczy

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

Book chapter

To call the toga or the mandarin’s gown ‘chic’ is to suggest a process of change which barely existed in ancient Rome or China; the clothes of the beefeater of the samurai are eminently respectable, precisely because they are not up to date; the tarboosh was never ‘all the go’ for it has never gone.

Issey Miyake

Bonnie English

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

Book chapter

Clothes … speak many languages … and have to be seen on the outside … as well as felt on the inside.

Techno Textiles

Bonnie English

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

Book chapter

While there are a number of monolithic factories in Japan, such as Toray, the largest textile company in the world, which are technically advanced and automated, the majority of operators are small and simple by comparison. Toray has expanded its base of synthetic fibres and textiles to include many other fields, such as plastics and chemicals, advanced composite materials, pharmaceutical and medical products, construction materials, housing, and engineering. Many of the smaller factories, includ

Global Influences: Challenging Western Traditions

Bonnie English

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

Book chapter

The Maison Margiela teamThe designers that we most admire are ‘those with an authentic approach to their work.’

Branding, Fashion and Music

Janice Miller

Source: Fashion and Music, 2011, Berg Fashion Library

Book chapter

A kind of special status for creative people is part of a set of characteristics constructed in the nineteenth century by the writers, poets, composers and painters that Raymond Williams (1971) labels the ‘Romantic Artists’. Williams argues that a certain mystique and an almost stereotypical artistic personality were created by and around sets of individuals as a method of resistance to encroaching industrialization.

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