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Bill Blass, Spring/Summer 1995

Michelle Honig

Source: Fashion Photography Archive 2015

Article

Bill Blass’s 1995 spring/summer collection focused on color and short hemlines, clothes that he thought were “just pretty.” The dominant color was pink—a marker of femininity. That season, fashion looked to the golden age of Hollywood, the 1930s, for inspiration and Blass was no exception. However, while other designers created clothes with tight, long satin pencil skirts that hobbled movement, he ignored that trend and instead made fun and flattering clothes with a twist. His evening clothes wer

Azzedine Alaïa, Spring/Summer 1986

Veronica Maldonado

Source: Fashion Photography Archive 2015

Article

Azzedine Alaïa’s spring/summer 1986 collection presents the designer’s work during the height of its initial popularity. Alaïa’s work rose to prominence during the 1980s with his body-conscious silhouettes and revealing cuts, garments that spoke directly to fashion’s transitional period of the 1980s, when trends began leaning towards a more masculine yet simultaneously sexualized feminine look. Shortly after this presentation, Alaïa was given a fashion Oscar, cementing his place in the era’s fash

Betsey Johnson, Spring/Summer 1986

Veronica Maldonado

Source: Fashion Photography Archive 2015

Article

Presented at the Palladium nightclub in New York City, Betsey Johnson’s spring/summer 1986 collection depended on many of her signature tropes—her usual use of romantic stylings such as petticoats, crinolines, bustiers, and lace combine with kitschy accessories like kitchen utensils, baggie boxes as hats, baby bottle earrings, and feather dusters, creating a look that teases ideas of the feminine—the romantic femininity of the materials and silhouettes mixes with the traditionally female role of

Jean-Charles de Castelbajac, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive 2015

Article

While most of de Castelbajac’s 1984 spring/summer contained serious and sensible clothes, the finale included a number of rectangular silk dresses screen-printed with images of household items such as US dollar bills, calculators, cigarette packs, and Warholian cans of Campbell’s soup. This was not the first time that de Castelbajac had shown these unconventionally shaped dresses—his previous collection had contained dresses emblazoned with internationally famous faces such as that of Charles de

Vivienne Westwood, Spring/Summer 1997

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Coquettish glances, provocative poses, and flashes of nudity: Vivienne Westwood’s “Vive la Bagatelle” collection for spring/summer 1997 mixed signature styles from the brand’s heritage with her trademark sense of fun and humor, and presented them with a renewed emphasis on flirtatious sexuality.

Valentino, Spring/Summer 1985

Rosily Roberts

Source: Fashion Photography Archive 2015

Article

Valentino’s spring/summer 1985 collection highlights the colors, patterns, and quintessential boxy silhouette that were to define his designs of the 1980s. Valentino was at the forefront of the trend for power dressing, one of the most important trends of the 1980s, and one that was to define the decade.

Valentino, Spring/Summer 1987

Rosily Roberts

Source: Fashion Photography Archive 2015

Article

Valentino’s 1987 spring/summer collection is both feminine and elegant. He uses a number of different luxurious materials and precise tailoring to create clothes with a sense of timelessness. Looking at the critical reception of this collection in publications such as Vogue, this essay will examine the relevance of the collection as well as the extent to which it departed from his previous style.

Givenchy Couture, Spring/Summer 1997

Aimee Williams

Source: Fashion Photography Archive 2015

Article

Alexander McQueen’s 1997 premiere at Givenchy following John Galliano’s departure resounded notably during the spring/summer couture showings, heralding the “revival of couture.” Showing at the École Nationale Supérieure des Beaux-Arts in Paris, the Grecian-inspired collection acknowledged the house’s defining conventions with double-breasted ivory suits and straightened silhouettes that hit above the knee. A generally neutral to white palette of silk, finely woven feathers, and gossamer textures

Paris as a Fashion City

Martine Elzingre

Translated by Pierre Hodgson

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

Encyclopedia entry

Paris fashions—clothes, lingerie, accessories, and jewelry, together with other beauty products such as hairstyles, fragrances, and cosmetics—have come to dominate the world beyond the borders of France, as well as beyond Europe and indeed outside the West. In Paris itself, the two arts of dressing and seduction have thrived because innumerable ideas and techniques for applying those ideas have constantly been discovered—a continual process of experimentation.

Fashion Week

Lise Skov

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

Encyclopedia entry

In the late twentieth century, fashion week became the standard name for biannual or annual trade fairs and fashion shows. For high-end designers’ biannual presentations, the term collections has been widely used; for example, the Paris Collections or the Tokyo Collections, and the Moscow fairs that started in 2002 are identified by the abbreviation CPM (Collection Première Moscow, organized by Igedo). Trade fairs have been known by a number of different names; in the 1970s, Hong Kong Fashion Wee

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