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Comparing Designers

Tony Glenville

Source: Fashion Photography Archive 2015

Article

Fashion and Anthropology

Brent Luvaas

Source: Fashion Photography Archive 2015

Article

Anthropologists have largely shied away from the study of fashion, preferring to focus their attention to dress on those everyday items that define an individual as part of an enduring cultural tradition. Only in the last two decades, as anthropologists have shifted their attention to global processes, have they begun to look at fashion specifically as a site of critical enquiry. As they do so, they bring with them a disciplinary attention to the messy and contradictory lived experiences that mak

Bibliographic guide

The word “media” is the plural form of “medium,” from the Latin, meaning “middle” or “middle layer.” Thus, a medium is much like a middleman, a conduit that serves to “lead” or “bring together.” In fashion, each medium functions to hold and deliver information: visual, textual, cultural.

Bibliographic guide

Research in sustainable fashion examines relevant issues from perspectives including theoretical, cultural, social, design-led, industry-based, educational, economic, and psychological. For reasons that might be purely serendipitous, but indicating much underlying research activity, 2008 was a significant year for scholarly publications on sustainable fashion. Comprehensive texts by two UK design-based academics, theorist Kate Fletcher (2008) and practitioner Sandy Black (2008), articulate and ad

Burqinis, Bikinis and Bodies: Encounters in Public Pools in Italy and Sweden

Pia Karlsson Minganti

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

Book chapter

The burqini is often met with resistance. Muslim women are considered to cover themselves too much. Their habits differ from ours, whether in Sweden and Italy or elsewhere in Europe. One day I experienced how this taken-for-granted assumption on European homogeneity is challenged. During a stay in Italy, I had decided to go swimming at a public swimming bath. While in the shower, washing myself before going into the pool, I noticed an information panel on the wall. It stated the regulations, incl

Introduction: Islamic Fashion and Anti-fashion: New Perspectives from Europe and North America

Annelies Moors and Emma Tarlo

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

Book chapter

What does dress have to do with religion? Conventionally, religion has been studied in terms of doctrine and institutions and more recently, especially in the case of Islam, as a sociopolitical movement and threat to secularism. With a focus on Islamic fashion, and the everyday corporeal practices of young Muslim women, the starting point of this book is different. We argue that to better understand the importance of dress to religion, we need to go beyond the modernist concept of religion, groun

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

The Growth of Chinese Textile and Apparel Industries: Is It Just an Illustration of Modernization?

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

The textile and apparel industries are of vital importance to the Chinese economy, even though they are often regarded as “sunset industries” in developed countries such as the United States. These industries provide fabric and clothing to meet the basic needs of a population of 1.3 billion people, employ about 19 million workers,The number is reportedly over one hundred million if those employed in supporting industries, such as the cotton growers, are included. These numbers are estimates by th

What Do Changing Chinese Fashions Really Tell Us?

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

We are modern not only because we have achieved this status historically, but because we have developed consciousness of our historical depths and trajectories, as also our historical transcendence of the traditional.

Designing a National Style: The Tangzhuang Phenomenon

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

On October 21, 2001, the last day of the Asia-Pacific Economic Cooperation (APEC) Summit, then-Chinese president Jiang Zemin along with other Asia-Pacific heads of state donned brightly colored Chinese silk jackets and matching white silk shirts and black pants or skirts, and posed in front of the world media (Figure 4.1).A Chinese source reported that 3,000 journalists from around the world congregated in Shanghai to cover this event (Beijing qingnianbao 10/15/2001). The jacket soon became known

For the Sake of Art or for the Market? The Cultural Economy of Fashion Design

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.

Creating Fashion on the Runway, Chinese Style

Jianhua Zhao

Source: The Chinese Fashion Industry. An Ethnographic Approach 2013

Book chapter

If the Chinese fashion industry is a puzzle, then China Fashion Week (CFW) is an occasion when all the pieces of the puzzle come together. During China Fashion Week, all the major players of the fashion field, including designers, models, members of the media, potential buyers, fashionistas, and students and scholars of fashion, gather together to display and witness the latest fashion trends. It is also an important social occasion for reunions and celebrations among friends and colleagues. Towa

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 Real Thing”: The Celluloid Vanity Set and the Search for Authenticity

Ariel Beaujot

Source: Victorian Fashion Accessories 2012

Book chapter

By the end of the nineteenth century it was generally understood that the elephant population was in serious crisis because of the ivory trade.R. F.du Toit, S. N.Stuart, and D.H.M.Cumming, African Elephants and Rhinos: Sattus Survey and Conservation Action Plan (Gland, Switzerland: Nature Conservation Bureau, 1990), 3. Between 1800 and 1850 ivory imports into the United Kingdom increased from 119 tons to 458 tons.AbdulSheriff, Slaves, Spices and Ivory in Zanzibar: Integration of an East African C

Introduction, Rationale, Context

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Fashion is the medicament that will console for the phenomenon of forgetting on a collective scale.

Artists, Celebrity and Fashion: From Wilde and Warhol to Taylor-Wood

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

An installation at the Venice Biennale of 2009 set out to provide a picture of, or commentary on, the contemporary art world. But it proved, in retrospect, as problematic as trying to portray or parody fashion on film. The Dutch and Nordic pavilions were twinned that year, to display linked installations created by Michael Elmgreen and Ingar Dragset, two artists whose installation ‘The Collectors’ was intended, presumably, to illuminate the activity of that species. The Dutch Pavilion was created

Designers and Models Become Brands

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

In 1921, Gabrielle ‘Coco’ Chanel launched one of the most successful scents of all time (Groom 1997: 21). The iconic oblong bottle for Chanel No. 5, still revered, was carefully designed to her own very strict specifications, and she selected its contents from several versions created by parfumier Ernest Béaux (Charles-Roux 2009). Meanwhile, once established as a designer, she herself also became a fashion leader; she was constantly photographed and always mindful of publicity, whether it was in

Celebrity and Fashion, Past and Present

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

‘Celebrity culture’ in a recognizably modern but still rudimentary form could be said to have emerged in the late eighteenth century. The period witnessed the new scientific discoveries and consequent technological developments associated with the Industrial Revolution. They would transform Western society from a predominantly rural one into one increasingly centred on urban and industrial life. Some of the new technologies also made possible the wide circulation of printed material—newspapers, b

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

Changes in Cinematic Culture: Some Celebrity Cover Girls

Pamela Church Gibson

Source: Fashion and Celebrity Culture 2012

Book chapter

Some of the films made by the new celebrity stars may not actually be seen by their fans; they will, however, have seen stills in magazines or on the Internet. When their films are commercially successful, the image of the star seen on screen often matches their most popular off-screen image. Jennifer Aniston in Marley and Me, made in 2009 and more successful at the box office than her previous string of romantic comedies, looks exactly like the off-screen Jennifer Aniston, so often photographed

‘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.

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