Dress of the Year 2019
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Course Syllabus & Itinerary, THTR 216, Maymester 2015 the Art
Course Syllabus & Itinerary, THTR 216, Maymester 2015 The Art, History, & Business of London Fashion We will explore many facets of the business of style that make London one of the most cutting-edge and influential fashion capitals of the world. Our study will begin with an overview of fashion history and its connection to the fine and decorative arts. We will learn about the origins of Haute Couture, from its roots in England and France in the 19th century, to today’s well known designers and trendsetters who have kept this cosmopolitan city at the forefront of the industry. Dynamic British designers from the 20th and 21st century at the heart of our study, who have continually pushed boundaries and changed rules of etiquette in their quest for fashion to mirror political, economic, and sociopolitical changes in society, include: Charles Frederick Worth, considered to be the father of Haute Couture; Mary Quant and her mini-skirt revolution; Vivienne Westwood and her influence on the world of punk fashion; Alexander McQueen and his creation of artful garments; and Stella McCartney and her ethical, sustainable approach to design. Excursions will include trips to: world renowned museums, to study works of fine and decorative art and historic examples of clothing; theatrical performances, to compare the theatricality of stage costumes and the principles of stage design to both runway and everyday fashion; the Making of Harry Potter, to see how designers create artful film designs; and a variety of commercial fashion venues, in which contemporary -
Junya Watanabe Comme Des Garçons 89 & 90
THE NEW MILLENNIUM ERA: THE FUTURE OF TEXTILES By Sarah E. Braddock Clarke TOKYO ZOKEI UNIVERSITY – 23 June 2016 Going back to the 1960s (and 1967 to be precise) British fashion designer Mary Quant said: “Some day we will blow clothes the way we blow glass. It’s ridiculous that fabric should be cut up to make a flat thing go round a round person.” At the very end of the 1990s there were many predictions for what the clothing of the new millennium would look like - The French fashion designer Thierry Mugler said: “The future of fashion? It has none. The trend is no fashion. We are getting nakeder and nakeder.” Continuing with that theme the French philosopher Jean Baudrillard said: “In this new erotic world every illusionistic element is missing (…) the body is present, even over-exposed, but only as part of the technical equipment.” And British designer John Galliano thought that: “The only way to get forward in fashion is to return to construction.” While Karl Lagerfeld believes the future of fashion is in the textiles used… Slide List OPENING 1. Lifestyle & Sport – We Can Make the World Stop by The Glitch Mob – 2011 used by GoPro to show extreme sports of many types, all around the world. The decade of 2000s saw a huge rise in adventure holidays and adrenalin-fuelled extreme sports and this music sums the decade up. Video – 05:12: http://www.youtube.com/watch?v=gOLY7bjCTTE UK 2. Dress of the Year at the Fashion Museum, Bath (started in 1963) – with images and a description of each winner in 2000s from 2000 to 2009: http://www.fashionmuseum.co.uk/galleries/dress-year BOUDICCA 3. -
Cecil Beaton (1904–80) Was One of the Great Creative Figures of the British Twentieth Century
Access Guide Please return at the end of your visit We hope this guide supports your visit. Please speak to any member of staff for more information. VERSION 2 Map Entrance Contents TBC Introduction Cecil Beaton (1904–80) was one of the great creative figures of the British twentieth century. Chiefly known as a photographer of portraits and fashion, through his work for Vogue magazine from 1924 to 1979, he was also recognised as a significant war photographer. An illustrator and caricaturist, a writer and commentator on taste and manners, Beaton was a theatre designer and art director of world renown and an influential stylist of his own homes. This exhibition focuses on Beaton’s early years. Born in Hampstead to a then prosperous timber merchant, Ernest Beaton and his wife Esther (‘Etty’), Cecil was first given a camera in 1914, aged ten. His first subjects were his mother and his willing sisters, Nancy and Barbara (‘Baba’). His transformation from middle-class suburban schoolboy to dazzling society figure against the backdrop of the Roaring Twenties and the Age of Jazz revealed a social mobility barely thinkable before the First World War. Here, then, are the Bright Young Things who brought an extraordinary era vividly to life and in so doing, nurtured and refined a remarkable photographic talent. The strength of his singular vision is such that, when we think of the Bright Young Things, we think of them in Beaton’s costumes, through Beaton’s lens and as Beaton’s friends. For full details of all events please see the What’s On guide or npg.org.uk/events Friday 20 March, 19.00 Lecture ‘When I die I want to go to Vogue’: Cecil Beaton’s Most Enduring Patron with Robin Muir Curator Robin Muir looks at the Cecil Beaton’s long working relationship with Vogue. -
New Frameworks in Deconstructivist Fashion
New Frameworks in Deconstructivist Fashion: Its Categorization in Three Waves, Application of the Notions of Plasticity, De-design and the Inclusion of Bora Aksu and Hussein Chalayan as the Third Wave Turkish Deconstructivist Designers Gizem Kızıltunalı A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy The Manchester School of Art MIRIAD Manchester Metropolitan University August 2017 Contents Abstract……………………………………………………………………………………4 Acknowledgements……………………………………………………………………5 List of Figures……………………………………………………………………………6 Introduction…………………………………………………………………………….16 Literature Review……………………………………………………………………..30 Methodology…………………………………………………………………………….64 Chapter One: Theoretical qualities of deconstructivist fashion design ……………………………………………………………………………………………….73 Chapter Two: Observing plasticity, the de-designs and deconstructions of the first wave Japanese and the second wave Belgian deconstructivist designers …………………………………………………………88 Chapter Three: Third wave Turkish deconstructivist designers: Hussein Chalayan and Bora Aksu.…………………………………………………………..159 Chapter Four: The de-designs and deconstructions of the third wave deconstructivist designers: Hussein Chalayan and Bora Aksu..………170 Chapter Five: Commonalities of the third wave Turkish deconstructivist designers: Metamorphosis of the fashion system, deconstruction through culture………………………………………………………………………..244 Conclusion……………………………………………………………………………….365 Bibliography…………………………………………………………………………….376 -
Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress
Petrov, Julia. "Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress. London: Bloomsbury Visual Arts, 2019. 31–62. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781350049024.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:32 UTC. Copyright © Julia Petrov 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 WINDOW SHOPPING: COMMERCIAL INSPIRATION FOR FASHION IN THE MUSEUM In his work on the “exhibitionary complex,” Tony Bennett (1996) showed how nineteenth-century museums and galleries were intimately connected in their design and conception to the expanding commercial architecture of the same period. The technical possibilities and visual experiences of industrial exhibitions and shopping arcades found analogous applications in museum spaces. As Mackie noted, “Both the retail shop and the public repository are designed for the display of information that is predominantly visual: looking is a means for possession as well as knowledge” (1996: 325). This blurring of commercial and intellectual cultures within the museum continues to create unease and controversy, particularly in the case of fashion exhibitions (Anaya 2013; Gamerman 2014). This chapter investigates how the introduction of fashion—an increasingly important economic and social product in the industrial period—into museums created new connections and tensions between these two worlds. It was because of its position between the disciplines of economy and history that historical fashion entered and was interpreted in museums. -
Hi! Fashion Publication
12 August—12 November 2017 National Design & Craft Gallery Kilkenny 1 December—29 April 2018 Farmleigh Gallery Dublin Curated by Gemma A. Williams Hi! Fashion has been produced by the Design & Crafts Council of Ireland in 2017 as part of the Kilkenny Arts Festival and marks the 60th anniversary of the establishment of diplomatic relations between Ireland and Japan. Hi! Fashion is supported by the Japan Foundation. INDEX FOREWORD — KAREN HENNESSY 05 WHO SPEAKS TRUE CRAFT — MARLO SAALMINK 07 REFORM DEFORM PERFORM TRANSFORM — GEMMA A. WILLIAMS 08—13 ANREALAGE 18—19 ÚNA BURKE 20—21 LAOISE CAREY 22—23 SYBIL CONNOLLY 24—25 COMME DES GARÇONS 26—27 AIDEEN GAYNOR 28—29 LAINEY KEOGH 30—31 DEREK LAWLOR 32—33 RICHARD MALONE 34—35 ISSEY MIYAKE 36—37 KENTA NISHIMURA 38—39 JOHN ROCHA 40—41 DANIELLE ROMERIL 42—43 MICHAEL STEWART 44—45 MAIKO TAKEDA 46—47 NORITAKA TATEHANA 48—49 WRITTENAFTERWARDS 50—51 KANSAI YAMAMOTO 52—53 YOHJI YAMAMOTO 54—55 NATIONAL DESIGN & CRAFT GALLERY PROGRAMME 56 CURATOR’S BIOGRAPHY 61 CREDITS & COLOPHON 63 FOREWORD Through the National Design & Craft Gallery programme, the Design & Crafts Council of Ireland continually seeks to exhibit the skill, creativity and innovation of designers and makers who push the boundaries of their craft. Placing Irish work within an international context allows us to consider how processes and materials in Ireland both correlate and contrast with those of other countries. Hi! Fashion explores and celebrates the commonalities and diferences in fashion design between Ireland and another island nation, Japan. Both countries have long histories of craft and tradition, with a cultural reach far beyond their own shores. -
Passion for Fashion, 8/12/2020 2:00 PM
Passion for Fashion, 8/12/2020 2:00 PM 1 An Hermès Ardennes leather Sac Doggy Medor 8 A fine and rare Gucci ink-blue crocodile cross-body bag, 1990s stamped to interior and handbag with bamboo handle, 1960s crocodylus signed to gilt press-studs, with gilt studs to front porosus, stamped to interior, with gilt hardware, flap, two interior pockets and lambskin leather a chain to each side held in place by a polished lining, 22cm, 8 1/2in long £400-600 lapis lazuli sphere, the semi-precious stone also 2 An Hermès cherry-red crocodile sac chaine inset to turnlock-clasp, leather interior with three d'ancre, late 1950s-early 1960s crocodylus pockets, 22cm, 8.5in long porosus, stamped to interior and signed to clasp, with top handle, gilt chain pull-clasp, two Please note there are export restrictions on this interior compartments with five pockets and red lot outside of the EU. Article 10 licence no. lambskin leather lining, 26cm, 10in long 593069/02 £2,000-3,000 9 A Gucci crocodile handbag, 1960s crocodylus Please note there are export restrictions on this porosus, stamped to interior, the gilt lift-clasp lot outside of the EU. Article 10 licence no. inset with four polished tiger's eyes, the top 593081/02 £800-1,200 handle with each end pierced with a gilt bar and 3 An Hermès cherry-red epsom leather Bolide the semi-precious stone, the leather lining with bag, 1994 blind stamp X, stamped and signed, four interior pockets, one with gilt 'shield' to zip- with gilt hardware, padlock, clochette, keys and pull, 18 1/2cm, 7 1/4in long shoulder strap, 35cm, 13.5in long £800-1,000 Please note there are export restrictions on this lot outside of the EU. -
DATS Spring Journal
DATS Dress and Textile Specialists Spring Journal April 2010 Contents Page Committee 2 DATS Conference & Papers 2009 4 News and Events 24 Exhibitions 27 New Books 36 Front cover images: Hat by Philip Treacy on display in Flock Together - Ruffled Feathers , at Lotherton Hall, Leeds, (courtesy Leeds Costume Collection) Wedding dress worn in the film, Howard’s End, on display in Marriage in the Movies at the National Museum of Costume, Scotland, (courtesy Cosprop) 1 DATS Committee Chair Zelina Garland Curatorial Services Manager Birmingham Museum and Art Gallery Chamberlain Square Birmingham B3 3DH Tel: 0121 303 2834 e-mail: [email protected] Secretary Currently vacant Treasurer Christine Stevens e-mail [email protected] Editor Alex Ward Assistant Keeper Art and Industrial Division National Museum of Ireland Collins Barracks Dublin 7, Ireland Tel: 00 353 1 6486469 e-mail: [email protected] Membership Secretary Jennifer Mckellar Assistant Registrar Manchester Art Gallery Mosley Street Manchester M2 3JL Tel: 0161 235 8829 e-mail: [email protected] Web Editor Kate Reeder Social History Curator Beamish North of England Open Air Museum Beamish Co. Durham DH9 0RG Tel: 0191 370 4009 e-mail: [email protected] SSN Officer Jenny Lister Curator, 19th Century Textiles and Fashion Department of Furniture, Textiles and Fashion Victoria & Albert Museum South Kensington London SW7 2RL Tel: 020 7942 2665 e-mail: [email protected] Conservation Janet Wood Representative Conservation and Collections Care Apt 37 -
Textiles and Seeing the Entire Process Through from Beginning to End
PUBLISHED BY ACC ART BOOKS 2019 ART ACC PUBLISHED BY 5 • Includes many rare and unseen photos of the star on and off stage • Features images from the archives of five top photographers: Norman Parkinson, Milton H. Greene, Douglas Kirkland, Terry O’Neill and Eva Sereny • Extensive commentary throughout from Kirkland, O’Neill and Sereny • Introduction by Terence Pepper, OBE and former Curator of Photographs for the National Portrait Gallery Always Audrey Iconic Images of the Legendary Star Introduction by Terence Pepper Audrey Hepburn once said “I never thought I’d land in pictures with a face like mine.” Nothing could be further from the truth. As one of the 20th century’s most loved icons, her face is instantly recognisable the world over. Here, for the first time, ACC Art Books and Iconic Images proudly present the work of five wonderful photographers – Norman Parkinson, Milton H. Greene, Douglas Kirkland, Terry O’Neill and Eva Sereny – who were fortunate enough to capture the star at different moments of her life. In addition, former Curator of Photographs for the National Portrait Gallery and co-curator of the Audrey Hepburn: Portraits of an Icon exhibition, Terence Pepper, opens up his personal archive of vintage press prints, making this ode to Hepburn truly unique. Throughout the book, Douglas Kirkland, Terry O’Neill and Eva Sereny share their memories of working with the icon. They present a wonderful mix of on-set, fashion, portrait and behind-the-scenes photographs, including contact sheets and never-before-seen images. With an introduction by Terence Pepper, Always Audrey is sure to delight any Hepburn fan. -
Guide to the Archive of Frank Mitchell 92/123 Powerhouse
GUIDE TO THE ARCHIVE OF FRANK MITCHELL 92/123 POWERHOUSE MUSEUM ARCHIVES PREPARED BY JESSICA MCLEAN 2008 CONTENTS Biographical Note Series List Series Descriptions COLLECTED ARCHIVES BIOGRAPHICAL NOTE Registration Number: 92/123 Creator: Mitchell, Frank Frank Mitchell was born in Hamilton, Newcastle, in 1920. He left home at the age of seventeen and moved to Sydney, where he lived in Kings Cross while attending the Julian Ashton Art School. During the Second World War Mitchell served as an air gunner; after demobilisation he toured rural New South Wales with a vaudeville company called the St Louis Vanities. His participation in the company included not only singing, but painting background scenery and assisting the costume designer. He then lived in Brisbane where he had various jobs, before returning to Sydney in the late 1940s. On his return to Sydney, Mitchell worked for fashion designer Hanne Wilson with his friend Mabel White (who would later work for Mitchell), despite the fact that he had had no formal training in fashion design or clothes making. He held his first fashion show with his friend Robert Henry in 1949 at 151 Dowling St, Woolloomooloo where he had his studio and was living at the time. Photographs from this first fashion show were published in The Sun Herald. Throughout the 1950s many of Mitchell's designs were paraded at charity events. June Dally-Watkins (who modelled in some of Mitchell's fashion shows) even took a collection of his clothing with her on a 1952 trip to the United States of America to promote Australian fashion. -
Tim Gunn Fashion Innovators
PUBLISHER’S NOTE Fashion Innovators SUR¿OHV WKH PRVW LQQRYDWLYH DQG 7KHWH[WRIWKHHVVD\VDUHGLYLGHGLQWRWKHIROORZLQJ LQÀXHQWLDO LQGLYLGXDOV LQ WKH GHYHORSPHQW RI IDVKLRQ • Early Life provides facts about the individual’s From the post–World War II revival of haute couture to upbringing. Where little is known about the per- WKH³PDVKXS´VW\OHRIWKHWZHQW\¿UVWFHQWXU\WKHKLV- son’s early life, historical context is provided. tory of fashion is immeasurably rich, with milestones • Life’s Work, the heart of the article, consists of a WKDWKDYHUHYROXWLRQL]HGRXUVRFLHW\7KLVQHZWLWOHH[- straightforward, generally chronological account amines those individuals most responsible for the design of how the individual gained recognition, em- and production behind fashion today, from designers to SKDVL]LQJ WKHLU PRVW VLJQL¿FDQW HQGHDYRUV DQG the models popularizing their designs. achievements—and failures. • Personal Information includes post-achieve- SCOPE OF COVERAGE ment activities or positions, family life, and top- Fashion Innovators features more than 180 biographies ics of general interest. RILQGLYLGXDOVZKRKDYHKDGDVLJQL¿FDQWLQÀXHQFHRQ • Each essay also includes an annotated Further the development of fashion, culminating with the styles Reading section that provides a starting point for of today that borrow from both hip-hop and unisex in- additional research. GLHVW\OHV7KHPDMRULW\RIWKHVHELRJUDSKLFDOHVVD\VDUH derived from Current Biography, which is a monthly SPECIAL FEATURES magazine that H. W. Wilson began publishing in 1940. Several features distinguish this series from other bio- Biographies represent a strong multi-ethnic, cross-gen- JUDSKLFDOUHIHUHQFHZRUNV7KHEDFNPDWWHULQFOXGHVWKH der focus, with accompanying sidebars describing the following aids, appendices, and indexes: DI¿OLDWLRQZLWKZKLFKWKDWLQGLYLGXDOLVPRVWRIWHQDV- • Timeline presents a comprehensive list of mile- sociated. Among the editors’ criteria for inclusion in the stone events in the evolution of fashion since the VHWZDVDQLQGLYLGXDO¶VKLVWRULFDOVLJQL¿FDQFHZKHWKHU 1940s. -
Heritage Services Annual Review 2016/17
Heritage Services Annual Review 2016/17 For learning, inspiration and enjoyment 2016 /17 at a glance Introduction 2016/17 was another exceptionally busy Numbers year for Heritage Services. The marketing strategy in the five-year business plan to Income (turnover) promote the shoulder months has £18,279,000 resulted in record off-season attendances at the Roman Baths and, as a result, all-time high annual visitor Surplus before internal overheads £6,584,000 numbers. 11% of these were Mandarin speakers, a result of sustained marketing to China in partnership with Visit Britain. Net profit per Heritage staff member £45,000 At the Fashion Museum, the exquisite exhibition A History of Fashion in 100 Net profit per B&NES resident £36 Objects showcasing stunning items from the museum collection has proved popular, leading to a rise in visitor Net profit per B&NES Council Tax payer numbers on the previous year. This effect £83 was further enhanced with the opening • 1,123,633 Roman Baths visitors (a record) of Lace in Fashion in February 2017, while • 153,593 Victoria Art Gallery visitors another top quality exhibition programme • 93,619 Fashion Museum visitors at the Victoria Art Gallery has kept visitor • 34,362 people attended learning sessions and community events numbers above the 150,000 mark. • 50,003 guests at civic and private functions Loans from the Victoria Art Gallery and • 623,892 shop items sold (up 44,663 on 2015/16) the Fashion Museum to major exhibitions elsewhere attest the importance of the collections we hold in trust for the public and promote our museums to national Awards and international audiences.