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Futurism

Fruzsina Bekefi

Source: Fashion Photography Archive 2015

Article

This article examines futurism in fashion in the twentieth century and it will focus on the work of designers between 1970 and 2000. It characterizes the theme, its meaning, and relevance during different eras by charting its progression from the fashions promoted by Italian futurists to the utopian designs of the space age. It also explores how contemporary designers have interpreted futuristic trends. Futuristic fashion is shown to intimately reflect on the conditions of existence in years to c

Michiko Koshino

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Pam Hogg

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Costume National

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

Paco Rabanne

Daphne Stylianou

Source: Fashion Photography Archive 2015

Designer Biography

Vivienne Tam, Spring/Summer 1999

Nadya Wang

Source: Fashion Photography Archive 2015

Article

Vivienne Tam (born 1957) is a New-York based designer who was born in China and grew up in Hong Kong. Her work has been a continuous experimentation in mixing and matching visual languages from the East and the West. Tam’s presentation for the spring/summer 1999 runway shows off her signature bilingualism, with images including Guanyin, the goddess of mercy, and the lotus flower combined with a relaxed, sporty style seen through the repeated use of windbreaker jackets in various prints and colors

Futurist Fashion, Italian

Ulrich Lehmann

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Explore
Steampunk

Sandra J. Ley

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

Encyclopedia entry

In the late 1980s, a literary subgenre emerged from science fiction and fantasy. Set in an alternate history of the nineteenth century, this subgenre is described as steampunk, a term coined in 1987 by author K. W. Jeter as a tongue-in-cheek analogy with cyberpunk. Both literary genres turn out cautionary tales of the perils of technology in the hands of the unscrupulous. Yet while cyberpunk looks with trepidation toward a dystopian future dominated by advanced technology, steampunk looks backwar

Art and Dress

Peter McNeil

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

Encyclopedia entry

Academic art and popular dress emerge from different structural and intellectual systems. Nonetheless, fashion in the early twenty-first century often appears to be like art and art to be like fashion. Artists are viewed as the ideal collaborators with fashion designers and the fashion industry, injecting the type of cultural capital they embody into products that have become synonymous with innovation and novelty. Artists throughout the twentieth century intervened in fashion culture, their anti

Peeking Under the Black Shirt: Italian Fascism’s Disembodied Bodies

Simonetta Falasca–Zamponi

Source: Fashioning the Body Politic. Dress, Gender, Citizenship 2002

Book chapter

In 1914 Giacomo Balla, one of the central participants of the Futurist artistic movement, proposed the creation of a Futurist suit. Described as anti-neutral in a manifesto issued on 11 September the suit, with the colours of the Italian flag – red, white and green – was supposed to counter the notorious lassitude of Italians and instead incite them to an active life of high energy.For the manifesto, see Crispolti (1987). The Futurist suit represented a sign of the new, a solicitation to fantasy

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