Haute Couture and Ready- To-Wear
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Charitably Chic Lynn Willis
Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items. -
Impact Investing in the Creative Economy: Diving Deep Into Ethical Fashion, Sustainable Food and Social Impact Media
Impact Investing in the Creative Economy: diving deep into Ethical Fashion, Sustainable Food and Social Impact Media Creatve people solve problems. Increasingly, In an efort to demystfy the creatve economy they are doing it beyond the studio, the for impact investors, impact fund managers and theater and the concert hall. Creatve people other stakeholders, this report dives deep into are harnessing the power of business and the three large and growing consumer industries marketplace to scale and sustain their ideas. within the creatve economy: fashion, food and media. These industries share the capacity to Many of the businesses that artsts, designers intrigue, engage, educate and actvate more and other creatves start balance fnancial mindful consumers so that the benefts of proftability with concern for the planet, ethical and sustainable supply chains and the their workers, and their community. These full power of media to drive positve change can socially-focused companies seek capital from be realized. impact investors who understand the power of art, design, culture, heritage and creatvity to Creatve Economy Defned drive positve environmental and social impact. Together, investors and entrepreneurs can The “creatve economy” was defned by John grow the creatve economy to become more Howkins in 2001 as a new way of thinking and inclusive, equitable and sustainable. doing that revitalizes manufacturing, services, retailing, and entertainment industries with A Creatvity Lens: Impact Investng in the Creatve Economy 1 a focus on individual talent or skill, and art, The Opportunity culture, design, and innovaton. Concern by consumers about how their food, Today, creatve economy defnitons are clothes and entertainment are produced has typically ted to eforts to measure economic grown signifcantly in recent years. -
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. -
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. -
© 2018 Weronika Gaudyn ALL RIGHTS RESERVED
© 2018 Weronika Gaudyn ALL RIGHTS RESERVED STUDY OF HAUTE COUTURE FASHION SHOWS AS PERFORMANCE ART A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Weronika Gaudyn December 2018 STUDY OF HAUTE COUTURE FASHION SHOWS AS PERFORMANCE ART Weronika Gaudyn Thesis Approved: Accepted: _________________________________ _________________________________ Advisor School Director Mr. James Slowiak Mr. Neil Sapienza _________________________________ _________________________________ Committee Member Dean of the College Ms. Lisa Lazar Linda Subich, Ph.D. _________________________________ _________________________________ Committee Member Dean of the Graduate School Sandra Stansbery-Buckland, Ph.D. Chand Midha, Ph.D. _________________________________ Date ii ABSTRACT Due to a change in purpose and structure of haute couture shows in the 1970s, the vision of couture shows as performance art was born. Through investigation of the elements of performance art, as well as its functions and characteristics, this study intends to determine how modern haute couture fashion shows relate to performance art and can operate under the definition of performance art. iii ACKNOWLEDGEMENTS I would like to thank my committee––James Slowiak, Sandra Stansbery Buckland and Lisa Lazar for their time during the completion of this thesis. It is something that could not have been accomplished without your help. A special thank you to my loving family and friends for their constant support -
The Aesthetics of Mainstream Androgyny
The Aesthetics of Mainstream Androgyny: A Feminist Analysis of a Fashion Trend Rosa Crepax Goldsmiths, University of London Thesis submitted for the degree of Ph.D. in Sociology May 2016 1 I confirm that the work presented in this thesis is my own. Rosa Crepax Acknowledgements I would like to thank Bev Skeggs for making me fall in love with sociology as an undergraduate student, for supervising my MA dissertation and encouraging me to pursue a PhD. For her illuminating guidance over the years, her infectious enthusiasm and the constant inspiration. Beckie Coleman for her ongoing intellectual and moral support, all the suggestions, advice and the many invaluable insights. Nirmal Puwar, my upgrade examiner, for the helpful feedback. All the women who participated in my fieldwork for their time, patience and interest. Francesca Mazzucchi for joining me during my fieldwork and helping me shape my methodology. Silvia Pezzati for always providing me with sunshine. Laura Martinelli for always being there when I needed, and Martina Galli, Laura Satta and Miriam Barbato for their friendship, despite the distance. My family, and, in particular, my mum for the support and the unpaid editorial services. And finally, Goldsmiths and everyone I met there for creating an engaging and stimulating environment. Thank you. Abstract Since 2010, androgyny has entered the mainstream to become one of the most widespread trends in Western fashion. Contemporary androgynous fashion is generally regarded as giving a new positive visibility to alternative identities, and signalling their wider acceptance. But what is its significance for our understanding of gender relations and living configurations of gender and sexuality? And how does it affect ordinary people's relationship with style in everyday life? Combining feminist theory and an aesthetics that contrasts Kantian notions of beauty to bridge matters of ideology and affect, my research investigates the sociological implications of this phenomenon. -
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. -
Jeanne Lanvin
JEANNE LANVIN A 01long history of success: the If one glances behind the imposing façade of Rue du Faubourg Saint-Honoré, 22, in Paris, Lanvin fashion house is the oldest one will see a world full of history. For this is the Lanvin headquarters, the oldest couture in the world. The first creations house in the world. Founded by Jeanne Lanvin, who at the outset of her career could not by the later haute couture salon even afford to buy fabric for her creations. were simple clothes for children. Lanvin’s first contact with fashion came early in life—admittedly less out of creative passion than economic hardship. In order to help support her six younger siblings, Lanvin, then only fifteen, took a job with a tailor in the suburbs of Paris. In 1890, at twenty-seven, Lanvin took the daring leap into independence, though on a modest scale. Not far from the splendid head office of today, she rented two rooms in which, for lack of fabric, she at first made only hats. Since the severe children’s fashions of the turn of the century did not appeal to her, she tailored the clothing for her young daughter Marguerite herself: tunic dresses designed for easy movement (without tight corsets or starched collars) in colorful patterned cotton fabrics, generally adorned with elaborate smocking. The gentle Marguerite, later known as Marie-Blanche, was to become the Salon Lanvin’s first model. When walking JEANNE LANVIN on the street, other mothers asked Lanvin and her daughter from where the colorful loose dresses came. -
Yves Saint Laurent: the Perfection of Style: Educator Resource Guide
EDUCATOR RESOURCE GUIDE OVERVIEW ABOUT THE EXHIBITION Organized by the Seattle Art Museum in partnership with the Fondation Pierre Bergé – Yves Saint Laurent, Yves Saint Laurent: The Perfection of Style highlights the legendary fashion designer’s 44-year career. Known for his haute couture designs, Yves Saint Laurent’s creative process included directing a team of designers working to create his vision of each garment. He would often begin by sketching the clothing he imagined, then a team would work to sew and create his designs. After the first version of the garment was created with simple fabric called muslin, Saint Laurent would select the final fabric for the garment. Under Saint Laurent’s direction, his team would piece the garment together—first on amannequin , next on a model. Working collaboratively, the team made changes according to Saint Laurent’s decisions, sewing new parts before the final garment was finished. Taking inspiration from changes in society around him, Saint Laurent adapted his designs over the years. Starting his career designing custom-made clothing worn by upper-class women, he shifted his focus to create clothing that more people would want to wear and could afford. He responded to contemporary changes of the time and pushed gender, class, and expressive boundaries of fashion. He created innovative, glamorous pantsuits for women, ready-to-wear clothing for the wider population, and high fashion inspired by what he saw young people wearing on the street. In 1971 Yves Saint Laurent summed this up with one sentence, “What I want to do is shock people, force them to think.” The exhibition features over 100 haute couture and ready-to-wear garments. -
Urban Representation in Fashion Magazines
Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
Fashion Design Studio
PRECISION EXAMS Fashion Design Studio EXAM INFORMATION DESCRIPTION Exam Number This course explores how fashion influences everyday life 355 and introduces students to the fashion industry. Topics Items covered include: fashion fundamentals, elements and 59 principles of design, textiles, consumerism, and fashion Points related careers, with an emphasis on personal 69 application. FCCLA and/or DECA may be an integral Prerequisites part of this course. NONE Recommended Course Length ONE SEMESTER National Career Cluster ARTS, A/V TECHNOLOGY & COMMUNICATIONS HUMAN SERVICES EXAM BLUEPRINT MARKETING STANDARD PERCENTAGE OF EXAM Performance Standards 1 - Fashion Fundamentals 37% INCLUDED (OPTIONAL) 2 - Principles & Elements 27% Certificate Available 3 - Textiles 16% YES 4 - Consumer Strategies 11% 5 - Personal Fashion Characteristics 9% Fashion Design Studio STANDARD 1 STUDENTS WILL EXPLORE THE FUNDAMENTALS OF FASHION Objective 1 Identify why we wear clothes. 1. Protection – clothing that provides physical safeguards to the body, preventing harm from climate and environment. 2. Identification – clothing that establishes who someone is, what they do, or to which group(s) they belong. 3. Modesty – covering the body according to the code of decency established by society. 4. Status – establishing one’s position or rank in relation to others. 5. Adornment – using individual wardrobe to add decoration or ornamentation. Objective 2 Define common terminology. 1. Common Terminology. 1. Accessories – articles added to complete or enhance an outfit. Shoes, belts, handbags, jewelry, etc. 2. Apparel – all men's, women's, and children's clothing. 3. Avant-garde – wild and daring designs that are unconventional and startling. Usually disappear after a few years. 4. Classic – item of clothing that satisfies a basic need and continues to be in fashion acceptance over an extended period of time.