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The Fashion Runway Through a Critical Race Theory Lens
THE FASHION RUNWAY THROUGH A CRITICAL RACE THEORY LENS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sophia Adodo March, 2016 Thesis written by Sophia Adodo B.A., Texas Woman’s University, 2011 M.A., Kent State University, 2016 Approved by ___________________________________________________________ Dr. Tameka Ellington, Thesis Supervisor ___________________________________________________________ Dr. Kim Hahn, Thesis Supervisor ___________________________________________________________ Dr. Amoaba Gooden, Committee Member ___________________________________________________________ Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School ___________________________________________________________ Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art ___________________________________________________________ Mr. J.R. Campbell, Director, The Fashion School ___________________________________________________________ Dr. Christine Havice, Director, The School of Art ___________________________________________________________ Dr. John Crawford-Spinelli, Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES ....................................................................................................................... iv ACKNOWLEDGEMENTS ........................................................................................................... iii CHAPTER I. INTRODUCTION .................................................................................................................. -
Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C
DOCUMENT RESUME ID 087 919 CB 001 018 AUTHOR Hayes, Philip TITLE Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C. Vocational Education Media Center.; South Carolina State Dept. of Education, Columbia. Office of Vocational Education. PUB DATE 72 NOTE 100p. EDRS PRICE MF-$0.75 HC-$4.20 DESCRIPTORS Business Education; Clothing Design; *Distributive Education; *Guides; High School Curriculum; Manuals; Student Developed Materials; *Student Projects IDENTIFIERS *Career Awareness; South Carolina ABSTRACT This semester-length guide for high school distributive education students is geared to start the student thinking about the vocation he would like to enter by exploring one area of interest in marketing and distribution and then presenting the results in a research paper known as an area of distribution manual. The first 25 pages of this document pertain to procedures to follow in writing a manual, rules for entering manuals in national Distributive Education Clubs of America competition, and some summary sheet examples of State winners that were entered at the 25th National DECA Leadership Conference. The remaining 75 pages are an example of an area of distribution manual on "How Fashion Changes Relate to Fashion Designing As a Career," which was a State winner and also a national finalist. In the example manual, the importance of fashion in the economy, the large role fashion plays in the clothing industry, the fast change as well as the repeating of fashion, qualifications for leadership and entry into the fashion world, and techniques of fabric and color selection are all included to create a comprehensive picture of past, present, and future fashion trends. -
Fashioning Gender Fashioning Gender
FASHIONING GENDER FASHIONING GENDER: A CASE STUDY OF THE FASHION INDUSTRY BY ALLYSON STOKES, B.A.(H), M.A. A THESIS SUBMITTED TO THE DEPARTMENT OF SOCIOLOGY AND THE SCHOOL OF GRADUATE STUDIES OF MCMASTER UNIVERSITY IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY c Copyright by Allyson Stokes, August 2013 All Rights Reserved Doctor of Philosophy (2013) McMaster University (Sociology) Hamilton, Ontario, Canada TITLE: Fashioning Gender: A Case Study of the Fashion Industry AUTHOR: Allyson Stokes BA.H., MA SUPERVISOR: Dr. Tina Fetner NUMBER OF PAGES: xii, 169 ii For Johnny. iii Abstract This dissertation uses the case of the fashion industry to explore gender inequality in cre- ative cultural work. Data come from 63 in-depth interviews, media texts, labor market statistics, and observation at Toronto’s fashion week. The three articles comprising this sandwich thesis address: (1) processes through which femininity and feminized labor are devalued; (2) the gendered distribution of symbolic capital among fashion designers; and (3) the gendered organization of the fashion industry and the “ideal creative worker.” In chapter two, I apply devaluation theory to the fashion industry in Canada. This chap- ter makes two contributions to literature on the devaluation of femininity and “women’s work.” First, while devaluation is typically used to explain the gender wage gap, I also address symbolic aspects of devaluation related to respect, prestige, and interpretations of worth. Second, this paper shows that processes of devaluation vary and are heavily shaped by the context in which work is performed. I address five processes of devaluation in fash- ion: (1) trivialization, (2) the privileging of men and masculinity, (3) the production of a smokescreen of glamour, (4) the use of free labor and “free stuff,” and (5) the construction of symbolic boundaries between “work horses” and “show ponies.” In chapter three, I use media analysis to investigate male advantage in the predomi- nantly female field of fashion design. -
Smart Moves Smart
Page 1 Thursday s FASHION: s REVIEWS: MEDIA: The s EYE: Partying collections/fall ’09 Michael Kors, Getting ready diversity with Giorgio Narciso for the $380 quotient Armani, Rodriguez million Yves rises on Leonardo and more, Saint Laurent the New DiCaprio, the pages art auction, York Rodarte sisters 6 to 14. page 16. runways, and more, NEW page 3. page 4. YORKWomen’s Wear Daily • The Retailers’ Daily Newspaper • February 19, 2009 • $3.00 WSportswear/Men’swDTHURSdAY Smart Moves It was ultrachic coming and going in Oscar de la Renta’s fall collection, a lineup that should delight his core customers. The look was decidedly dressed up, with plenty of citified polish. It was even set off by Judy Peabody hair, as shown by the duo here, wearing a tailored dress with a fur necklet and a fur vest over a striped skirt. For more on the season, see pages 6 to 14. Red-Carpet Economics: Oscars’ Party Goes On, Played in a Lower Key By Marcy Medina LOS ANGELES — From Sharon Stone to Ginnifer Goodwin, the 40-person table beneath the stone colonnade at the Chateau Marmont here was filled with Champagne-drinking stars. It appeared to be business as usual for Dior Beauty, back to host its sixth annual Oscar week dinner on Tuesday night. With the worldwide economy in turmoil, glamour lives in the run-up to Hollywood’s annual Academy Awards extravaganza on Sunday night, but brands are finding ways to save a buck: staging a cocktail party instead of a dinner, flying in fewer staffers or cutting back on or eliminating gift suites. -
Altman on Jacobs on Dior: Fashion Through Fractals and Archives
Streetnotes (2012) 20: 90-110 90 ISSN: 2159-2926 Altman on Jacobs on Dior: Fashion Through Fractals and Archives J. Emmanuel Raymundo Abstract On February 25, 2011, the fashion luxury company Christian Dior suspended John Galliano, who had been its creative director since 1996, after his arrest over making anti-Semitic remarks at a Paris bar. Quickly following his suspension, a video from December 2010 was distributed showing Galliano hurling anti-Semitic invectives at several bar patrons. On March 1, 2011, Dior fired Galliano. At stake in the considerable interest and speculations regarding who takes over at Dior is control of a €24.6B business empire and access to a historic couturier’s archive. In this sense, its designer will influence the label’s “books” both financial and what will be stored in its physical repository as part of the brand’s creative and artistic repertoire. Despite fashion’s apparent ubiquity, the anticipation surrounding who takes over at Dior is proof that despite fashion’s professed democratization, there still exists a fashion hierarchy with Dior occupying its upper echelon. Since Galliano’s dismissal, fashion insiders have moved from breathlessly feverish in their speculations to desperately calling out for relief in the face of an unexpectedly drawn-out waiting game that is now over a year old and otherwise an eternity in fashion’s hyper accelerated production cycle. To purposely counter fashion’s accelerated internal clock, the purpose of this commentary is to keep fashion in a reflective state rather than a reflexive stance and uses fashion on film, and specifically Robert Altman’s Prêt-à-Porter (1994), to give cultural and historical context to all the online speculation and chatter. -
Calm Down NEW YORK — East Met West at Tiffany on Sunday Morning in a Smart, Chic Collection by Behnaz Sarafpour
WINSTON MINES GROWTH/10 GUCCI’S GIANNINI TALKS TEAM/22 WWDWomen’s Wear Daily • The Retailers’MONDAY Daily Newspaper • September 13, 2004 • $2.00 Accessories/Innerwear/Legwear Calm Down NEW YORK — East met West at Tiffany on Sunday morning in a smart, chic collection by Behnaz Sarafpour. And in the midst of the cross-cultural current inspired by the designer’s recent trip to Japan, she gave ample play to the new calm percolating through fashion, one likely to gain momentum as the season progresses. Here, Sarafpour’s sleek dress secured with an obi sash. For more on the season, see pages 12 to 18. Hip-Hop’s Rising Heat: As Firms Chase Deals, Is Rocawear in Play? By Lauren DeCarlo NEW YORK — The bling-bling world of hip- hop is clearly more than a flash in the pan, with more conglomerates than ever eager to get a piece of it. The latest brand J.Lo Plans Show for Sweetface, Sells $15,000 Of Fragrance at Macy’s Appearance. Page 2. said to be entertaining suitors is none other than one that helped pioneer the sector: Rocawear. Sources said Rocawear may be ready to consider offers for a sale of the company, which is said to generate more than $125 million in wholesale volume. See Rocawear, Page4 PHOTO BY GEORGE CHINSEE PHOTO BY 2 WWD, MONDAY, SEPTEMBER 13, 2004 WWW.WWD.COM WWDMONDAY J.Lo Talks Scents, Shows at Macy’s Accessories/Innerwear/Legwear By Julie Naughton and Pete Born FASHION The spring collections kicked into high gear over the weekend with shows Jennifer Lopez in Jennifer Lopez in from Behnaz Sarafpour, DKNY, Baby Phat and Zac Posen. -
THE POLITICS of Fashion Throughout History, the First Lady’S Style Has Made a Statement
THE POLITICS OF Fashion Throughout history, the first lady’s style has made a statement By Johanna Neuman rom the beginning, we have obsessed new country’s more egalitarian inclinations. Martha about their clothes, reading into the Washington dressed simply, but her use of a gilded sartorial choices of America’s first la- coach to make social calls led critics to lament that dies the character of a nation and the she was acting like a queen. Abigail Adams, who had expression of our own ambitions. “We cultivated an appreciation for French fashion, was want them to reflect us but also to reflect glamour,” careful to moderate her tastes but failed to protect Fobserves author Carl Sferrazza Anthony, who has John Adams from criticism that he was a monarchist; studied fashion and the first ladies. “It is always he was defeated for re-election by Thomas Jefferson. said that Mamie Eisenhower reflected what many “These Founding Fathers had deep ancestral and in- Americans were, and Jackie Kennedy reflected what tellectual ties to countries where government lead- many American women wanted to be.” ers’ dress was explicitly understood to In a nation born in rebellion against Jackie Kennedy in Ottawa, reflect and represent their august posi- the king, the instinct among public fig- Canada, in an outfit tions,” says historian Caroline Weber, ures to dress regally clashed with the designed by Oleg Cassini author of Queen of Fashion: What PAUL SCHUTZER—TIME & LIFE PICTURES/GETTY IMAGES SPECIAL COLLECTOR’S EDITION 77 AMERICA’S FIRST LADIES Marie Antoinette Wore to the Revolution (2008). -
Body As Crisis
CHAPTER II It is monstrosity, not death, that is the counter- value to life Georges Canguilhem, Monstrosity and the Monstrous … In the middle, cadaverous, awful, lay the grey puddle in the courtyard … I came to the puddle. I could not cross it. Identity failed me Virginia Woolf, The Waves Frida Kahlo and Cindy Sherman both present the wounded flesh. But while Kahlo showed chronic pain as a result of tissue damage, Sherman’s art can be read as a symptom of pain, a reflection of a mental state. While Kahlo painted perpetual pain accompanying her all her life, Sherman shows pain as a structural instability, the blurring of the boundaries of stereotyped femininity. Like her own artistic persona, pain in Sherman’s work is de-individualized; it might just as well be the pain of an author, a model, a character or a viewer. Abandoning any claim on notions such as authorship or intentionality, Sherman disowns – but does not disembody – pain. Pain in Sherman’s art changes the body in the same way that emotional crisis watermarks the identity. Sherman never shows her characters as what is widely understood as idealized figures. Her art forms the counterpart to the American cult of the well-functioning, toned-down body, where any memory of pain had been erased. Pain denied elsewhere here becomes pain transformed into monstrosity, nausea, pathology, hysteria, and disguise. Sherman’s photographs force the viewer to acknowledge the amount of pain constituting the female subject. I am interested in the discursive exchange between feminist and psychoanalytic theories and visual images where Sherman’s art is concerned. -
Cautionary Statement
MARCH 2014 CAUTIONARY STATEMENT Forward-Looking Statements This presentation includes forward-looking statements. These forward-looking statements reflect the Company’s current views with respect to, among other things, its future operations and financial performance; expected growth; its ability to support its planned business operation on a near- and long-term basis and its outlook for the remainder of the fiscal year ending June 30, 2014. These forward-looking statements are generally identified by words or phrases, such as “anticipate”, “estimate”, “plan”, “project”, “expect”, “believe”, “intend”, “foresee”, “forecast”, “will”, “may”, “should,” “outlook,” “continue,” “intend,” “aim” and similar words or phrases. Although we believe that the expectations reflected in the forward-looking statements are reasonable, we cannot guarantee future results, events, favorable circumstances or conditions, levels of activity or performance. Reported results should not be considered an indication of future performance, and actual results may differ materially from the results predicted due to risks and uncertainties including (1)the Company’s ability to achieve our global business strategy and compete effectively in the beauty industry; (2) the Company’s ability to anticipate, gauge and respond to market trends and consumer preferences, which may change rapidly; (3) the Company’s ability to identify suitable acquisition targets and managerial, integration, operational and financial risks associated with those acquisitions; (4) risks related to our -
Modern Painters March 2006 Let Me Entertain You Juergen Teller Takes
Modern Painters March 2006 Let Me Entertain You Juergen Teller takes centre stage By Vince Aletti IT'S HARD TO TAKE Juergen Teller seriously, but that's part of his appeal. Teller doesn't take himself too seriously either. He's a joker, a prankster, sometimes a buffoon. He became famous as a fashion photographer in the 1990s, when artists (including Corinne Day, Wolfgang Tillmans, Jack Pierson, Nan Goldin and Terry Richardson) and magazines (The Face, i-D, Dutch, Dazed & Confused, Index) that had little or no use for the genre's conventions were scrapping them and starting over from scratch. Mocking fashion's snobbism and superficiality, Teller and his fellow mavericks made work that was cheeky, funny, street smart and much more about the model's attitude than the clothes she wore. Or didn't wear. Teller's most notorious photos, from 1996, are of model Kristen McMenamy wearing nothing but jewellery; inside a crude lipstick heart drawn between her breasts is the name Versace, written in eyebrow pencil. Glamour survived these attempts to debunk it, but Teller had made his mark and established a reliably, often hilariously, perverse career in fashion photography that continues most conspicuously in his ad campaign for Marc Jacobs. There's scant evidence of that career in the Teller exhibition that opens at Fondation Cartier in Paris this month, where the nudity on display will be primarily his own. Titled Do You Know What I Mean, the show includes frankly autobiographical work, some of which was on view at New York's Lehmann Maupin Gallery in January, and finds Teller delving deeper into personal and national history. -
Date Production Name Venue / Production Designer / Stylist Design
Date ProductionVenue Name / Production Designer / Stylist Design Talent 2015 Opera Komachi atOpera Sekidrera America Camilla Huey Designer 3 dresses, 3 wigs 2014 Opera Concert Alice Tully Hall Opera Camilla Huey Designer 1 Gown Rebecca Ringle 2014 Opera Concert Carnegie Hall Opera Camilla Huey Designer 1 Gown Rebecca Ringle 2014 Opera Concert Carnegie Hall Opera Camilla Huey Designer 1 Gown Sara Jakubiak 2013 Opera Concert Bard University Opera Camilla Huey Designer 1 Gown Rebecca Ringle 1996 Opera Carmen Metropolitan Opera Leather Costumes 1996 Opera Midsummer'sMetropolitan Night's Dream Opera Leslie Weston / Izquierdo Human Pillar Set Piece 1997 Opera Samson & MetropolitanDelilah Opera Leslie Weston / Izquierdo Dyeing Costumes 1997 Opera Cerentola Metropolitan Opera Leslie Weston / Izquierdo Mechanical Wings 1997 Opera Madame ButterflyHouston Grand Opera Anita Yavich / Izquierdo Kimonos Hand Painted 1997 Opera Lillith Tisch Center for the Arts OperaCatherine Heraty / Izquierdo Costumes 1996 Opera Bartered BrideMetropolitan Opera Sylvia Nolan / Izquierdo Dancing Couple + Muscle Shirt 1996 Opera Four SaintsMetropolitan In Three Acts Opera Francesco Clemente/ Izquierdo FC Asssitant 1996 Opera Atilla New York City Opera Hal George / Izquierdo Refurbishment 1995 Opera Four SaintsHouston In Three Grand Acts Opera Francesco Clemente / Izquierdo FC Assistant 1994 Opera Requiem VariationsOpera Omaha Izquierdo 1994 Opera Countess MaritzaSanta Fe Opera Allison Chitty / Izquierdo 1994 Opera Street SceneHouston Grand Opera Francesca Zambello/ Izquierdo -
The Shatnez Newsletter by Rabbi Dovid Ginsburg- Cleveland Fall 2007
The Shatnez Newsletter By Rabbi Dovid Ginsburg- Cleveland Fall 2007 Quick Fact: Russian-Style Winter Hats Very often clothes from Russia contain Shatnez. Shatnez has Shatnez is the combination of sheep’s been found in suits, coats, and other types of clothing. In Russian wool and linen from the flax plant. military clothing combinations of wool and linen are frequently used for warmth and durability. Other wools, such as mohair (goat) or angora (long- haired rabbit) are not included in the prohibition. Many major Western clothes manufactures now outsource to factories in countries from the former Soviet Union. These Other vegetable fibers, such as cotton are not included garments may not be made in the typical Russian manner with its in the prohibition. frequent use of mixed materials that contain Shatnez, but of course they should be checked. A story to illustrate: While giving an educational Shatnez presentation to a group of young girls, I mentioned that Russian-style fur hats often contain Basic Guidelines II Shatnez. The girls’ Rebbi told me that he had bought one three years ago on the street in Moscow. “I was freezing and it was a bargain,” he told me. “We could check in now to show the girls how we check for Shatnez,” I said. Hats He agreed and went to the car to get it. As I gently opened the seam of the inner lining to inspect the insulation, he could tell Fedora-style hats, which from the expression on my face that what I found was a problem. are made from angora (rabbit) wool or beaver, The interior of the hat was filled with ground rags, great for insulation, but almost always Shatnez.