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“Coiled Corset,” Shaun Leane for Alexander McQueen, Fall/Winter 1999

Kate Bethune

Source: Fashion Photography Archive 2015

Article

The “Coiled Corset” is an example of radical body adornment made by jeweler Shaun Leane for fashion designer Alexander McQueen’s collection “The Overlook” (fall/winter 1999). Leane, who originally trained as a jeweler and goldsmith, first worked with McQueen in 1995, when he made silver watch chains for his “Highland Rape” collection (fall/winter 1995). His creative collaborations with McQueen soon propelled him to work with new materials and on a much larger scale to create elaborate body sculpt

Ben de Lisi

Elizabeth Tregenza

Source: Fashion Photography Archive 2015

Designer Biography

Dress in Art: Worldwide

Sandra Lee Evenson

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

Encyclopedia entry

Details about identity are conveyed through dress, which plays an important role in the arts worldwide. The visual arts comprise painting, sculpture, photography, printmaking, rendering, illustration, tapestry, mosaic, and masks. Visual evidence of people using dress dates to the Upper Paleolithic, forty-five thousand to ten thousand years ago; the plump stone “Venus Figures” appear to have styled hair and skirts made out of string fringe. In the visual arts dress acts as a shorthand method of co

Display Mannequins

Leopoldina Fortunati

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

Encyclopedia entry

Although the dress mannequin is usually considered marginal within the marketing and displaying of fashionable clothing, it can be analyzed as a key cultural artifact in the fashion system. The display mannequin is part of an archaic imagery of humankind, similar to automatons, robots, and dolls. At a metaphoric level, it has an importance in Western culture, because on a symbolic plane the mannequin replaces the human being. In fashion, the mannequin engages in the dialogue between the container

Early History of Dress and Fashion in Italy and the Iberian Peninsula

Carmen Alfaro Giner and Maria Giuseppina Muzzarelli

Translated by Ana Alacovska

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

Encyclopedia entry

Rock engravings in Valcamonica, Italy, indicate the use of looms and thus weaving in the second millennium b.c.e. Tunics were worn by both men and women during pre-Roman times in the Iberian Peninsula.Italian regions colonized by Greece in the eighth century b.c.e. were influenced by Hellenic fashion. The Roman royal period lasted from 753 to 509 b.c.e., followed by the republic and the empire. Clothing during the first two periods was largely austere, although wealth and refinement characterized

Historical Evidence: Tibet

Valrae Reynolds

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

Encyclopedia entry

There is evidence of human habitation in Tibet since Neolithic times. Despite geographical isolation, Tibetans had links with ancient Eastern and European cultures. Chinese records from the seventh to tenth centuries, while emphasizing the civilizing Chinese influence on Tibetans, provide significant information. Homespun woolens have been excavated from Neolithic and later sites. Imported luxuries, especially silk, feature prominently in Tibetan texts. After the Tibetan empire collapsed in the n

Archaeological Evidence

Fred T. Smith

Source: Berg Encyclopedia of World Dress and Fashion. Africa 2010

Encyclopedia entry

In Africa, the human body has always been a focus for creative expression. Each culture has evolved its own patterns of dress and associated symbolic system, yet cross-cultural influences and change have constantly occurred. A society’s political structure and religious institutions can determine the type of dress used. Societies with a centralized organization often have elaborate, even grandiose programs of visual culture associated with leadership. The ruler or an elite group often reserves th

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