French Fashion Designers 4 5 by Brigit Viney 6
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Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
Issue: Fashion Industry Fashion Industry
Issue: Fashion Industry Fashion Industry By: Vickie Elmer Pub. Date: January 16, 2017 Access Date: October 1, 2021 DOI: 10.1177/237455680302.n1 Source URL: http://businessresearcher.sagepub.com/sbr-1863-101702-2766972/20170116/fashion-industry ©2021 SAGE Publishing, Inc. All Rights Reserved. ©2021 SAGE Publishing, Inc. All Rights Reserved. Can it adapt to changing times? Executive Summary The global fashion business is going through a period of intense change and competition, with disruption coming in many colors: global online marketplaces, slower growth, more startups and consumers who now seem bored by what once excited them. Many U.S. shoppers have grown tired of buying Prada and Chanel suits and prefer to spend their money on experiences rather than clothes. Questions about fashion companies’ labor and environmental practices are leading to new policies, although some critics remain unconvinced. Fashion still relies on creativity, innovation and consumer attention, some of which comes from technology and some from celebrities. Here are some key takeaways: High-fashion brands must now compete with “fast fashion,” apparel sold on eBay and vintage sites. Risk factors for fashion companies include China’s growth slowdown, reduced global trade, Brexit, terrorist attacks and erratic commodity prices. Plus-size women are a growing segment of the market, yet critics say designers are ignoring them. Overview José Neves launched Farfetch during the global economic crisis of 2008, drawing more on his background in IT and software than a love of fashion. His idea: Allow small designers and fashion shops to sell their wares worldwide on a single online marketplace. The site will “fetch” fashion from far-off places. -
FASHION IS STILL MADONNA's PASSION Final 6.7.2012 1030Am
FASHION IS STILL MADONNA’S PASSION LOS ANGELES, CA (June 7, 2012) - Madonna’s MDNA Tour which opened in Tel Aviv on May 31 st includes over 700 costumes elements, six costume changes for the Material Girl and costume changes for the dancers with each song. The show is already being heralded as her most stunning and grandest extravaganza ever. Longtime Madonna stylist, Arianne Phillips, and her staff of 25 have put together an array of big name designers and emerging talent including Jean Paul Gaultier Couture, Brooks Brothers shirts and canes, Prada/MiuMiu shoes, club and street style innovators Jeremy Scott & Adidas, Dolce & Gabanna and several new creative partnerships, as well as her own Truth or Dare line encompassing lingerie and shoes that are scheduled to come out in the Fall. The Material Girl’s MDNA tour essentially runs the gamut from long time collaborators and new partners, fashion designers, retailers and artists along with dazzling elements of Swarovski crystals. “I see Madonna as one of the greatest performing artists and entertainers of our generation,” commented Phillips, a two time Oscar nominee, who has collaborated with Madonna for over l5 years and four tours. The wardrobe reflects new twists on familiar themes including spirituality, prophecy, light, super-vixen, Americana/sassy, majorette with a message, masculine, feminine, redemption and celebration. With styles including Truth or Dare lingerie with crosses, colorful metal mesh tee shirts, specially designed accessories including gargoyle and bunny masks, Brooks Brothers shirts and canes, swords, gun holsters, jeweled accessories, mirrored track suits, Lord of War tee shirts, Phillips designed Joan of Arc ensembles, a majorette costume with a l940’s inspired silhouette and Shaolin warrior costumes, fashionistas will easily find a wide range of styles and likely some new trends. -
Retail Product Merchandising: Retail Buying-Selling Cycle
Retail Product Merchandising: Retail Buying-Selling Cycle SECTION 2: Establishing the Retail Merchandise Mix Part 1: The Basics of the Retail Merchandise Mix Part 1: 1-2 Industry Zones in the Apparel Industry Fashion products, especially in the women’s wear industry, are categorized by the industry zone in which they are produced and marketed. Industry has designated these zones as a) Haute Couture or couture, b) designer, c) bridge, d) contemporary, e) better, f) moderate, g) popular price/budget/mass, and g) discount/off price. Often the industry emphasizes the wholesale costs or price points of the merchandise in order to define the zone. However, price alone is not the major factor impacting the placement of the merchandise in the zone. Major factors impacting the zone classifications include the following criteria: . fashion level of the design (i.e., degree of design innovation inherent or intrinsic to the merchandise) . type and name of designer creating and developing the design concept . wholesale cost and retail price of product . types and quality of fibers and fineness of fabrications, trims, and findings . standards of construction quality or workmanship quality. In summary, the classification of a zone is based on the type of designer creating the product, design level of the product, type and quality of fabrications, standards of the workmanship, and the price range of the merchandise. Therefore, depending upon the lifestyle of the target consumer, the fashion taste level of that consumer (i.e., position of product on the fashion curve), and the current fashion trend direction in the market, the retailer, when procuring the merchandise mix, selects the industry zone(s) which offer(s) the product characteristics most desired by the target consumer. -
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. -
Coco Chanel's Comeback Fashions Reflect
CRITICS SCOFFED BUT WOMEN BOUGHT: COCO CHANEL’S COMEBACK FASHIONS REFLECT THE DESIRES OF THE 1950S AMERICAN WOMAN By Christina George The date was February 5, 1954. The time—l2:00 P.M.1 The place—Paris, France. The event—world renowned fashion designer Gabriel “Coco” Cha- nel’s comeback fashion show. Fashion editors, designers, and journalists from England, America and France waited anxiously to document the event.2 With such high anticipation, tickets to her show were hard to come by. Some mem- bers of the audience even sat on the floor.3 Life magazine reported, “Tickets were ripped off reserved seats, and overwhelmingly important fashion maga- zine editors were sent to sit on the stairs.”4 The first to walk out on the runway was a brunette model wearing “a plain navy suit with a box jacket and white blouse with a little bow tie.”5 This first design, and those that followed, disap- 1 Axel Madsen, Chanel: A Woman of her Own(New York: Henry Holt and Company, 1990), 287. 2 Madsen, Chanel: A Woman of her Own, 287; Edmonde Charles-Roux, Chanel: Her Life, her world-and the women behind the legend she herself created, trans. Nancy Amphoux, (New York: Alfred A. Knopf, Inc., 1975), 365. 3 “Chanel a La Page? ‘But No!’” Los Angeles Times, February 6, 1954. 4 “What Chanel Storm is About: She Takes a Chance on a Comeback,” Life, March 1, 1954, 49. 5 “Chanel a La Page? ‘But No!’” 79 the forum pointed onlookers. The next day, newspapers called her fashions outdated. -
Download the Dior: from Paris to the World Program Guide
PROGRAM GUIDE Since his debut collection, art gallerist turned legendary couturier Christian Dior has generated an epic movement in fashion history. With lavish embroidery, luxurious fabrics, and elegant silhouettes, his designs were a revolutionary celebration of modern femininity when they emerged in Paris after World War II. Today, Dior’s global influence is as enduring and iconic as ever. Dior: From Paris to the World surveys more than 70 years of the House of Dior’s legacy, featuring a dynamic selection of almost 200 haute couture dresses, as well as accessories, photographs, original sketches, runway videos, and other archival material. MAY Free Youth and Student Sundays The Heart of Neiman Marcus Foundation will sponsor a day Exhibition Talk: Dior on June 2 to allow youth and students (with valid ID) free Thursday, May 23, 7:00 p.m. access to Dior: From Paris to the World. Students under 16 must be $10 public, $5 DMA Members accompanied by an adult with a paid ticket. Exhibition tickets and students with valid ID are timed with capacity restrictions. A second day will occur before the exhibition closes. Fashion historian Amber Butchart will talk about the ways in which fashion designers past and present have taken inspira- tion from the world around them. Drawing on fashion history, art, nature, and pop culture, Butchart will explore the nature of innovation and reveal threads that connect decades of fash- ion design. JUNE Toddler Art: Fabric Frenzy June 4, 7, or 14, 11:00 a.m.–noon Open Studio Art Making $8 public, $5 DMA Members June 1, 2, 15, & 16, noon–4:00 p.m. -
The Evolution of Brassiere in the 20Th Century
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 12-10-2012 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Journalism Studies Commons Recommended Citation Khor, Jolene, "The Evolution of Brassiere in the 20th Century" (2012). Honors Theses. 2342. https://scholarworks.wmich.edu/honors_theses/2342 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running Head: The Evolution of Brassiere in the 20th Century 1 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University The Evolution of Brassiere in the 20th Century 2 Abstract It is common knowledge that a brassiere, more widely known as a bra, is an important if not a vital part of a modern woman’s wardrobe today. In the 21st century, a brassiere is no more worn for function as it is for fashion. In order to understand the evolution of function to fashion of a brassiere, it is necessary to account for its historical journey from the beginning to where it is today. This thesis paper, titled The Evolution of Brassiere in the 20th Century will explore the history of brassiere in the last 100 years. While the paper will briefly discuss the pre-birth of the brassiere during Minoan times, French Revolution and early feminist movements, it will largely focus on historical accounts after the 1900s. -
Clothing in France
CLOTHING IN FRANCE For their day-to-day activities, the French, both in the countryside and the cities, wear modern Western-style clothing. Perhaps the most typical item of clothing associated with the French is the black beret. It is still worn by some men, particularly in rural areas. The French are renowned for fashion design. Coco Chanel, Yves Saint-Laurent, Christian Dior, and Jean-Paul Gautier are all French fashion design houses whose creations are worn by people around the world. Traditional regional costumes are still worn at festivals and celebrations. In Alsace, women may be seen in white, lace-trimmed blouses and aprons decorated with colorful flowers. Women's costumes in Normandy include white, flared bonnets and dresses with wide, elbow-length sleeves. A traditional symbol of the region, the famous Alsatian headdress was abandoned after 1945. Today, this can only be admired during certain cultural and tourist events. Varying widely from one part of Alsace to another, the traditional costumes reflected the social standing and faith of their wearers. Consequently, Protestant women in the North would wear the colors of their choosing; where as Catholics from Kochersberg (to the northwest of Strasbourg) wore only ruby red. Some women would decorate the hems of their skirts with velvet ribbons. Others, particularly in the south, would wear printed cotton clothing, often made of silk for special occasions with paisley patterned designs. The aprons, worn everywhere throughout Alsace, were plain white. However, on Sundays it was not uncommon to see silk or satin aprons decorated with embroidery, and worn over skirts or dresses. -
The Mini Skirt Danielle Hueston New York City College of Technology Textiles
The Mini Skirt Danielle Hueston New York City College of Technology Textiles When I was six my mother and I took one of our weekly day shopping trips to the mall. On our way back we stopped at this local thrift store. This being one of the first times I had ever experienced one, everything seemed so different and weird, in a good way. I wasn’t used to there only being one of everything, or one store that sold clothes, books, toys, home decor and shoes.Walking down the ‘bottoms aisle’ is where I first came across it. It was black and flowy, probably a cotton material, with a black elastic band around the waist. I wanted it, I needed it. It was the perfect mini skirt. It reminded me of the one I saw Regina George wear in the Hallway Scene in the movie ‘Mean Girls’ a few months prior and had to get it, even though it was a “little” big. There was only one, I was going to make it work. When Monday came I wasted no time showing off my new skirt at school. It made me feel like a whole new person. At some point of the day however my teacher had stepped out of the room to talk to another teacher, in conjunction one of my classmates playfully grabbed my pencil out of my hand, to which I decided to chase him around the room to retrieve it back. I tripped and my skirt fell right to my ankles, in front of the entire class. -
Download The
The House of an Artist Recognized as one of the world’s most celebrated perfumers, Francis Kurkdjian has created over the past 20 years more than 40 world famous perfumes for fashion houses such as Dior, Kenzo, Burberry, Elie Saab, Armani, Narciso Rodriguez… Instead of settling comfortably into the beginnings of a brilliant career started with the creation of ”Le Mâle” for Jean Paul Gaultier in 1993, he opened the pathways to a new vision. He was the first in 2001 to open his bespoke fragrances atelier, going against the trend of perfume democratization. He has created gigantic olfactory installations in emblematic spaces, making people dream with his ephemeral and spectacular perfumed performances. All this, while continuing to create perfumes for world famous fashion brands and designers, as fresh as ever. Maison Francis Kurkdjian was a natural move in 2009, born from the encounter between Francis Kurkdjian and Marc Chaya, Co-founder and President of the fragrance house. Together, they fulfilled their desire for a sensual, generous and multi-facetted landscape of free expression, creating a new emblem of French know-how and lifestyle. A high-end fragrance house Maison Francis Kurkdjian’s unique personality is fostered by the creative power of a man who has a taste for precision. The Maison is guided by enchanting yet precise codes: purity, sophistication, timelessness and the boldness of a classicism reinvented. Designed in the tradition of luxury French perfumery, the Maison Francis Kurkdjian collection advocates nevertheless a contemporary vision of the art of creating and wearing perfume. Francis Kurkdjian creations were sketched like a fragrance wardrobe, with myriad facets of emotions.