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Think Fashion or Tradition?

Sheila Cliffe

Source: The Social Life of Kimono. Japanese Fashion Past and Present, 2018, Berg Fashion Library

Book chapter

Kimono lovers may question the necessity for this chapter at all. Why does it matter if kimono is regarded as fashion or tradition anyway? It matters because the WestWest in general, and FranceFrance in particular, have claimed the fashioncenter ofcenter of fashion as their own and still retain a hegemonyhegemony in fashion discourse. Even at a fashion technology conference at the most prestigious fashion fashionschoolschool in TokyoTokyo in 2014, I heard two Japanese professors referring to Pari

Beldi Sells: The Commodification of Moroccan Fashion

M. Angela Jansen

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

Angela Jansen offers an analysis of contemporary Moroccan fashion known as beldi which has simultaneously achieved commercial success while promoting a new sense of national identity. The term, beldi, which means ‘traditional/local/authentic’ in Moroccan Arabic, encompasses both recognition as a brand as well as shorthand for the desire of Moroccan people for authenticity, craftsmanship and national glory. As such, beldi has been a success story as to how contemporary fashion can both reference t

Introduction

M. Angela Jansen and Jennifer Craik

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

fashiondiscourselegacyAbby Lillethun, Linda Welters, and Joanne Eicher (2012: 76) argue in their article (Re)Defining Fashion that socialSocial socialDarwinismDarwinism, in the nineteenth and early twentieth centuries, is at the origin of the embedding of perceived ownershipownership of fashion in Western Europeancultureurbanculturewesterncultureculture. Social Darwinism’s paradigm, they argue, included a hierarchical construct of human typologies shaped by Westerners, which, therefore, positione

Ottoman costume in the context of modern Turkish fashion design

Şakir Özüdoğru

Source: Modern Fashion Traditions. Negotiating Tradition and Modernity through Fashion, 2018, Berg Fashion Library

Book chapter

Reflecting the desire to achieve international recognition, Sakir Özüdoğru argues that Turkish designers have incorporated (traditional) Ottoman clothing elements in collections as a superficial commercial strategy, rather than a desire to reflect the socio-cultural values of a Turkey in transition. Instead, Özüdoğru suggests that Ottoman references are simply a source of visual inspiration within the context of western Orientalism. In contrast to exploring and unpacking Ottoman heritage as an a

Wearing the flag: Patriotism and Globalization

Barbara Brownie and Danny Graydon

Source: The Superhero Costume. Identity and disguise in fact and fiction, 2016, Berg Fashion Library

Book chapter

Captain AmericaCaptain America was created as a defender of the values of the United States of America. His appearance resembles those of Olympians, for whom national allegiance becomes the defining factor in the design of their uniforms. When they inject Steve Rogers with a serum to give him super-powers, the American secret service intend that his supernatural athleticismathleticism will be used in combat, on behalf of the US Army. He is dressed in a flag-like costume, and introduced to the wor

Orientalism in Fashion

Osman Ahmed

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

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.

A Brief Overview of Modern Designing

Karl Aspelund

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

Book chapter

Designers Speak

‘Look At Me I’M Different!’: Identity Art And The Expectations Of Race

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

National identification is an exemplary case of how an external border is reflected into an internal limit. Of course, the first step towards the identity of the nation is defined through differences from other nations, via an external border: if I identify myself as an Englishman, I distinguish myself from the French, German, Scots, Irish, and so on. However, in the next stage, the question is raised of who among the English are ‘the real English’, the paradigm of Englishness; who are the Englis

Exoticism At The Brink: Contemporary Chinese And Aboriginal Art

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

For a better understanding of this conundrum, it is useful to digress briefly using another analogy from the fashion industry proper. At the same time as Aboriginal art was ‘born’ in the 1970s, Parisian couture began to experience an extraordinary change with the entry of new designers: Takada, KenzoKenzo, Rei Kawakubo, ReiKawakubo (Comme des Garçons), Issey Miyake, IsseyMiyake, Yamomoto, YohjiYohji Yamamoto and Hanae Mori, HanaeMori are the most successful of these, now hailed as bringing about

Oscar de la Renta, Fall/Winter 1994

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Inky black velvets, rich scarlet, and leopard print furs: Oscar de la Renta’s fall/winter 1994 collection oozed the classic glamour that the designer had established his long-standing fashion career with, and was infused with an Orientalist fantasy aesthetic, reflecting the designer’s admiration of sumptuous Eastern designs. This collection confirmed that despite his recent appointment at Parisian House of Balmain, de la Renta’s own ready-to-wear line remained significant and relevant, where he c

Oscar de la Renta, Spring/Summer 1994

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Shown at New York Fashion Week, Oscar de la Renta’s spring/summer 1994 collection was based on sunset colors and intricate prints, with a distinct Eastern influence. With long-line, flowing cuts and sheer materials, it was made for summer weather. Together, these created an opulent yet refined and eclectic look, ideal for the woman who traveled the world in luxurious style. Long necklaces, capes, and sheer shawls added to this aesthetic of glamorous practicality.

Introduction: Indian Fashion

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style, 2015, Berg Fashion Library

Book chapter

While conducting research on the subject of fashion and dressdress it is not uncommon to come across significant variations in the way clothing terminology is applied and understood. Hence providing a framework of terms and definitions used throughout this book is a crucial starting point for this chapter. Outlining certain dress and fashion-related terms and their meanings, like costumecostume and traditional [dress], is also necessary as they have frequently been employed [historically] in acad

Darzi to “Designer”: Crafting Couture and High-Fashion for India

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style, 2015, Berg Fashion Library

Book chapter

Over the past 20 years, the field of fashion in India has changed significantly. We see a shift from an industry that solely supported Western markets through exports, to an fashion design, Indianas a cultural activityfashion design, Indianindustry’s estimate worth (in 2012)fashion design, Indiankey distinguishing factorsfashion weeks, IndianFDCI (Fashion Design Council of India)industry that has begun to take Indian consumers, their tastes and their potential market base into consideration. Indi

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

Early Orientalism and the Barbaresque

Adam Geczy

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

Book chapter

Just to what extent Justinian was instrumental in the demystification of silk within Europe is debatable, because the fibres of the highest quality still emanated from elsewhere: the Middle East and Cathay. Silks had always been the commodity of choice for the Roman citizenry and aristocracy. Although the earliest dates of trade with Asia and the Middle East are uncertain, they can be traced to as far back as the fourth century bc, when the commerce was predominately with India and Persia. China

1690–1815: Chinoiserie, Indiennerie, Turquerie and Egyptomania

Adam Geczy

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

Book chapter

See, mademoiselle, how that goes well with your Chinese-style hairstyle, your mantle of peacock feathers, your petticoat of celadon and gold, your cinnamon bottoms and your shoes of jade…

1815–1871: Turkophilia, Afromania and the Indes

Adam Geczy

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

Book chapter

Yet neither high Egyptian nights nor the black and opulent coffee with cardamom seed nor the frequent literary discussions with the Doctors of the Law nor the venerable muslin turban nor the meals eaten with his fingers made him forget his British reticence, the delicate central solitude of the masters of the earth.

1868–1944: The Japoniste Revolution, the Deorientalizing of the Orient and the Birth of Couture

Adam Geczy

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

Book chapter

Civilization! Read: ‘the era that has lost almost all its creative power…in jewellery as in furniture’; and in one or the other we are compelled to exhume or import. Import what? Indian bracelets of glass filament and Chinese earrings of cut paper? No. But more often the naïve taste that underlies their making.

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.

Conclusion: The Revenge of China

Adam Geczy

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

Book chapter

Dolce color d’orientale zaffiro [Sweet hue of oriental sapphire].

Body and Beauty

Patrizia Calefato

Translated by Sveva Scaramuzzi

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

Encyclopedia entry

The concept of human “race” was extended for the first time from its meaning of “lineage” or “descent” by Georges Cuvier (1769–1823) who gave it a classificatory, hierarchical meaning. During the nineteenth century, this conception led to racial biology and eugenics. Notwithstanding the researchers’ intentions, the idea of “race” constituted the basis for nineteenth- and twentieth-century racist ideologies. The idea of feminine beauty also evolved in relation to the genesis of racism. Fashion bec

The Contemporary Kimono

Sheila Cliffe

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

Encyclopedia entry

The kimono is the de facto national costume of Japan. Framed as ethnic or traditional, and therefore an unchanging garment, its continuity with the past has been assumed. This is preconceived, and the kimono, in its many forms, has been changing constantly to fit the needs, both aesthetic and practical, of its wearers. The kimono was worn by all Japanese until the late nineteenth century, when Japan was forced to open its doors to Western powers. It continued to be worn by the majority of Japanes

Orientalism in Western Dress and Stage Costume

Lloyd Llewellyn-Jones

Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia, 2010, Berg Fashion Library

Encyclopedia entry

From the time of the European Renaissance, the West has been fascinated by the image of the “mysterious,” “exotic,” and “erotic” East. Sometimes, as Edward Said explored in his 1978 book Orientalism, this Western view of the East has been so dependent on the fantastical imaginings of European (and North American) authors, artists, and musicians that the realities of Eastern cultures and societies have been deliberately submerged beneath a vision of “theatricalized” Eastern despotism, characterize

Fashion, Dress, and Interior Spaces

Peter McNeil

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

Encyclopedia entry

Clothes are animated by bodies moving in space, and attitudes toward work and leisure that have changed dramatically across culture and time. In early modern Europe until the eighteenth century, sumptuary laws extended well beyond dress to even the type of finish and materials used in interior design. Other societies, including China and Thailand, continuously attempted to control these appearances. In England in the post-Restoration decades, very wealthy women exhibited new independence in the d

Orientalism

Patricia Mears

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

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