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Chic Street Oscar De La Renta Addressed Potential Future-Heads-Of-States, Estate Ladies and Grand Ole Party Gals with His Collection of Posh Powerwear
JANET BROWN STORE MAY CLOSE/15 ANITA RODDICK DIES/18 WWDWomen’s Wear Daily • The Retailers’TUESDAY Daily Newspaper • September 11, 2007 • $2.00 Ready-to-Wear/Textiles Chic Street Oscar de la Renta addressed potential future-heads-of-states, estate ladies and grand ole party gals with his collection of posh powerwear. Here, he showed polish with an edge in a zip-up leather top and silk satin skirt, topped with a feather bonnet. For more on the shows, see pages 6 to 13. To Hype or Not to Hype: Designer Divide Grows Over Role of N.Y. Shows By Rosemary Feitelberg and Marc Karimzadeh NEW YORK — Circus or salon — which does the fashion industry want? The growing divide between designers who choose to show in the commercially driven atmosphere of the Bryant Park tents of Mercedes-Benz Fashion Week and those who go off-site to edgier, loftier or far-flung venues is defining this New York season, and designers on both sides of the fence argue theirs is the best way. As reported, IMG Fashion, which owns Mercedes-Benz Fashion Week, has signed a deal to keep those shows See The Show, Page14 PHOTO BY GIOVANNI GIANNONI GIOVANNI PHOTO BY 2 WWD, TUESDAY, SEPTEMBER 11, 2007 WWD.COM Iconix, Burberry Resolve Dispute urberry Group plc and Iconix Brand Group said Monday that they amicably resolved pending WWDTUESDAY Blitigation. No details of the settlement were disclosed. Ready-to-Wear/Textiles Burberry fi led a lawsuit in Manhattan federal court on Aug. 24 against Iconix alleging that the redesigned London Fog brand infringed on its Burberry check design. -
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 .................................................................................................................. -
AN EXAMINATION of VANCOUVER FASHION WEEK by Vana Babic
AN EXAMINATION OF VANCOUVER FASHION WEEK by Vana Babic Bachelor of Arts in Political Science, European Studies, University of British Columbia, 2005 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF BUSINESS ADMINISTRATION In the Faculty of Business Administration © Vana Babic 2009 SIMON FRASER UNIVERSITY Summer 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Vana Babic Degree: Master of Business Administration Title of Project: An Examination of Vancouver Fashion Week Supervisory Committee: ________________________________________ Dr. Michael Parent Senior Supervisor Associate Professor Faculty of Business Administration ________________________________________ Dr. Neil Abramson Second Reader Associate Professor of International Strategy Faculty of Business Administration Date Approved: ________________________________________ ii Abstract This study proposes a close examination of Vancouver Fashion Week, a biannual event held in Vancouver, showcasing local and international talent. It is one of the many Fashion Weeks held globally. Vancouver Fashion Week can be classified in the tertiary market in terms of coverage and designers showcased. The goal of these fashion shows is to connect buyers, including but not limited to boutiques, department stores and retail shops, with designers. Another goal is to bring media awareness to future trends in fashion. The paper will begin with an introduction to Fashion Weeks around the world and will be followed by an industry analysis. -
Narratives of a Designer's Collection: Fashion Shows
The Turkish Online Journal of Design, Art and Communication - TOJDAC ISSN: 2146-5193, October 2019 Volume 9 Issue 4, p. 546-554 NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS Sanem ODABAŞI Eskişehir Technical University, Turkey [email protected] https://orcid.org/0000-0001-8467-9038 ABSTRACT Fashion weeks are of significant importance since in addition to new designs to present, within those weeks a fashion shows’ effect sometimes moves ahead of the designs. When collections are completed, fashion designers introduce them through the “fashion show,” a field used to present their collection ideas in an impressive and striking manner. Through this form, the designer employs performative presentation to help put across the intellectual message, the allure of a fashionable creation, or to mediate diverse creations in a visual way as a collection. Fashion shows have a strong impact due to the atmosphere created which is surrounded by music, video art, performance and stage design. These 20-25 minute shows represent the whole collection through the background idea of the collection and designer’s inner world, by using colors, textures, stories, forms and visuals. Thus, an artistic approach is key when designing a show in order to reveal the collection’s idea in its most relevant form. The aim of this paper is to examine how fashion shows are curated by artistic applications and to reveal the ways of narrating stories which are not written but are conveyed to communities through performative presentations. In this respect, an interpretative approach was adopted and related artistic applications from contemporary examples held between 2013 and 2018 were analyzed as part of narrating a collection. -
Cinematic Fashionability and Images Politics
Journalism and Mass Communication, Mar.-Apr. 2021, Vol. 11, No. 2, 73-80 doi: 10.17265/2160-6579/2021.02.002 D DAVID PUBLISHING Cinematic Fashionability and Images Politics Chan Ka Lok Sobel Hong Kong Baptist University, Hong Kong SAR, China The marriage of cinema and fashion? When, where and how their interaction and origin is begun? There should be no glamor and red carpet when The Lumière brothers short films like Workers leaving the Lumière factory, The Gardener, Baby’s Breakfast on the birth of cinema in 1895. However, we notice that artificially costumes are tailor-made for A Trip to the Moon in Georges Méliès and D. W. Griffith’s Intolerance. Suddenly, it adds the aesthetical and modernist elements into the blood of cinema beside the raw-realism of how the daily life of the common people is represented on the silver screen. Some kinds of bourgeois ideology and middle class value is enhanced. It is so unbelievable that some ordinary actress like Mary Pickford transforming into a movie star after beautifully dressing up. Not only the audience feel the power of movie magic but also the fashion magic. This paper explores the different perspective of movie and fashion in terms of fashion and film costumes, movie stars icon, fashion trends influenced by movies, and how fashion designers changes the look of cinema as well, etc. Keywords: ideology, movie images, stardom, fashionability Introduction Cinema is somehow like a showcase of fashion. General audiences are fans of movie stars not just because of their personal charisma, but because of the fashion they wear. -
Bar Code MILAN — Robust, Textured Sweaters Have Been All Over the Runways of Milan, As Designers Focus on Clothes for Leisure Rather Than Work
Page 1 Tuesday s EXCLUSIVE: Balenciaga MILAN MEN’S: More opens men’s store reviews including in Paris, page 10. s Gucci and ermenegildo Zegna, pages 6 to 10. FASHION: Resort from Jean Paul Gaultier, (right), Chloé, s EYE: Catching up Viktor & Rolf and with actress Julia s akris, pages 4 and 5. Jones, page 16. MILAN men’s collections/spring 2011 Women’s Wear Daily • The Retailers’ Daily Newspaper • June 22, 2010 • $3.00 WReady-to-Wear/TextilesWDTUESDAY Bar Code MILAN — Robust, textured sweaters have been all over the runways of Milan, as designers focus on clothes for leisure rather than work. In the collection she showed Sunday night, Miuccia Prada delivered her own take on chunky knits, with thick, candy-colored bands married to marine stripes. For more on the Milan men’s collections, see pages 6 to 10. Digital Versus Print: Brands Rush to Web, Just Not to Advertise By Lisa Lockwood The WoRlD is oNliNe — yeT fashioN brands are still reluctant to advertise there. ad experts say that even as fashion brands shift more of their marketing spend online, they aren’t clamoring to place their ads on the Web as much as they are using it for e-commerce, blogs, posting news about their brands and building social networks. among the reasons are: • impactful fashion imagery doesn’t translate as well online. • There is too much clutter on the Web and their ads don’t stand out. • it’s debatable whether online fashion ads actually move merch. “look at the initial forms of advertising online — window ads and banner ads, they’re See For, Page12 photo by davide maestri davide photo by 2 WWD, TUESDAY, JUNE 22, 2010 WWD.COM Retailers Buoyed by Strong Father’s Day By Jean E. -
Redefining the High Art of Couture: Fashion Illustration Goes Modern
Redefining the High Art of Couture: Fashion Illustration Goes Modern exhibition curated by Decue Wu Tuesday, April 30, 2013 Fashion illustration has a long history and has played a critical role in the fashion industry. In the past, fashion illustrations were the main avenue for presenting the glamorous fashion concepts of designers. The illustrators added their own elements into their illustrations while showing the designerʼs vision. Meanwhile, fashion illustrators also documented the fashion show as editorial illustrations for magazines, newspapers and other publications. Yves Saint Laurent drawing designs. 1957 Tuesday, April 30, 2013 Cover illustration by Benito, 1921, for Vogue, February 15, 1921. Cover illustration by Benito, 1929, for Vogue, August 1929. Tuesday, April 30, 2013 Exhibition Précis: Redefining the High Art of Couture: Fashion Illustration Goes Modern is an exhibition that asserts that fashion illustration is a fine art. The focus is on the fashion illustrations of notable contemporary fashion illustrators, including David Downton (1959), Gladys Perint Palmer, Tanya Ling (1966), Francois Berthoud (1961), Mats Gustafson (1951), Zoë Taylor (1982), Jean-Philippe Delhomme (1959) and Howard Tangye (1979). Approximately two to four illustrations showcase the remarkable artistic talents of each artist. This exhibition is meaningful because it dispels the idea that fashion illustration is merely a functional tool for a fashion house— one used either to instruct tailors or to be manipulated as a marketing-and-sales device in fashion magazines or blogs. Instead, these exquisite drawings lift fashion illustration to its rightful place—as a high-art form worthy of acquisition by a museum or a private collector. -
Guy Trebay Collection of Fashion Ephemera, 2000-2005
http://oac.cdlib.org/findaid/ark:/13030/kt038nc9nd No online items Finding Aid for the Guy Trebay Collection of Fashion Ephemera, 2000-2005 Processed by Cristina Favretto; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2008 The Regents of the University of California. All rights reserved. Finding Aid for the Guy Trebay 459 1 Collection of Fashion Ephemera, 2000-2005 Descriptive Summary Title: Guy Trebay Collection of Fashion Ephemera Date (inclusive): 2000-2005 Collection number: 459 Creator: Trebay, Guy, 1952- Extent: 9 boxes (4.5 linear ft.)2 oversized boxes. Abstract: The collection consists of invitations, designer "look books", promotional material, and other fashion ephemera pertaining to the Milan, London, Paris, and New York City fashion shows spanning the years 2001-2005. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. -
Dark Shadows in Goth We Trust — That’S the Mantra of Some Adventurous Designers Who Are Channeling Glamour’S Dark Side for Fall
s EYE: Muses, models, designers and more from the Costume FASHION SCOOP: First Institute gala, pages 4 and 5. Lady Michelle Obama makes the New York rounds, page 3. FASHION: Stella McCartney and Simon Doonan chat design ats Barneys New York, page 3. Women’s Wear Daily • The Retailers’ Daily Newspaper • May 6, 2009 • $3.00 WwDWEdNESdAYSportswear Dark Shadows In Goth we trust — that’s the mantra of some adventurous designers who are channeling glamour’s dark side for fall. Some variations, such as the furry-armed look here, take the primal beast angle. But Goth is more than a trend. It’s a richly nuanced subculture, with all sorts of quirky offshoots, including the Gothic Lolita movement coming West from Japan. For more on Gothic fashion, see pages 6 to 9. Target’s Hipper Tie-up: Anna Sui Set to Design Line for the Discounter By Sharon Edelson Target Corp. is hoping a dash of Anna Sui’s downtown New York style will lure thrifty consumers. As the discount retailer pushes to bring designer names to the masses, Sui will be the second participant in Target’s Designer Collaborations series. Bowing on Sept. 13 on target.com and in about 250 select stores across the U.S., Anna Sui for Target will be available through Miss Sixty’s wool Oct. 17. and acrylic faux fur blazer and The Designer Collaborations program belt, Fifth Avenue features more established talents — Shoe Repair’s Alexander McQueen was the inaugural cotton blouse and Witches’ polyester designer — than the up-and-comers of lace leggings. -
Fall | Winter 2008
FALL | WINTER 2008 66498_p1-25.indd 1 6/25/08 p110:27:08 AM FRENCH LESSONS Here’s what I wore to 4. the Louvre: blue Comme de Garcons with matching tights, FEATURES my Karen Walker shades, Jan at Paris cropped biker jacket. Repeat DARK ANTHEM 4. after me: medieval cobblestone Sleek leathers, pleathers and platform storm-troopers Fashion Week! streets were not made for SCULPTURE GARDEN 10. these Pierre Handy platforms! Fabrics pleat, fold, twist and distort LESSON FOUR LUXE LIBERATION 14. Fine tailoring, finished shapes and royal grandeur LESSON ONE Translate: See Jan run. Run, Jan, run! Repeat after moi: J’adore Paris! La crème de la crème – the best of the best: DEEP VAULTED 18. I’m here, and I love Paris! Precious tones ennoble JASMINE DE MILO – The pop of corks – and gem-hued fabrics Compare and contrast: real champagne (legally, champagne can only New York: Neon and adrenalin be made in France, you know) sets the scene DREAMS & EXHAUST 22. Luxury throws off its heavy wraps Paris: Incandescent. Simply glows. MON ONGLES at the Paris Ritz for this elegant private show. (My Nails) Luminous. No wonder it’s called Long pointed almonds with LOUIS VUITTON where every detail is “The City of Lights.” 10. extended nail beds in a creamy, scrutinized and set like a perfect diamond into femme pink. An undertone a priceless setting. of silvery shimmer, and GIAMBATTISTA VALLI where innocence turns crystal clear tips embedded 14. savage. The models in “Little Red Riding Hood” with flickers of blue-green mode literally eat the Big Bad Wolf during on DEPARTMENTS holographic cello. -
Runway to Realway: Visual Analysis of Fashion
Runway to Realway: Visual Analysis of Fashion Sirion Vittayakorn1 Kota Yamaguchi2 Alexander C. Berg1 Tamara L. Berg1 University of North Carolina at Chapel Hill1 Tohoku University2 {sirionv,acberg,tlberg}@cs.unc.edu [email protected] Abstract quantitative analysis of fashion both on the runway and in the real world, computationally, and at large scale, using Clothing and fashion are an integral part of our every- computer vision. To enable this study, we collect a large day lives. In this paper we present an approach to studying new dataset called the Runway Dataset, containing 348,598 fashion both on the runway and in more real-world settings, runway fashion photos, representing 9,328 fashion show computationally, and at large scale, using computer vision. collections over 15 years. Using this dataset we develop Our contributions include collecting a new runway dataset, computer vision techniques to measure the similarity be- designing features suitable for capturing outfit appearance, tween images of clothing outfits. Additionally, we make use collecting human judgments of outfit similarity, and learn- of the Paper Doll dataset [26] collected from the Chictopia ing similarity functions on the features to mimic those judg- social network, where people interested in fashion post and ments. We provide both intrinsic and extrinsic evaluations annotate pictures of their daily outfits. The combination of of our learned models to assess performance on outfit simi- these two datasets allows us to make initial steps toward an- larity prediction as well as season, year, and brand estima- alyzing how fashion trends transfer from runway collections tion. -
9780714849720-Pattern-Preview.Pdf
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