A Study on the Fashion Design of Emilio Pucci - Focusing on the 1960S
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“The Answer to Laundry in Outer Space”: the Rise and Fall of The
Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ University of North Carolina Asheville “The Answer to Laundry in Outer Space”: The Rise and Fall of the Paper Dress in 1960s American Fashion A Senior Thesis Submitted to the Faculty of the Department of History In Candidacy for the Degree of Bachelor of Arts in History By Virginia Knight Asheville, North Carolina November 2014 1 A woman stands in front of a mirror in a dressing room, a sales assistant by her side. The sales assistant, with arms full of clothing and a tape measure around her neck, beams at the woman, who is looking at her reflection with a confused stare. The woman is wearing what from the front appears to be a normal, knee-length floral dress. However, the mirror behind her reveals that the “dress” is actually a flimsy sheet of paper that is taped onto the woman and leaves her back-half exposed. The caption reads: “So these are the disposable paper dresses I’ve been reading about?” This newspaper cartoon pokes fun at one of the most defining fashion trends in American history: the paper dress of the late 1960s.1 In 1966, the American Scott Paper Company created a marketing campaign where customers sent in a coupon and shipping money to receive a dress made of a cellulose material called “Dura-Weave.” The coupon came with paper towels, and what began as a way to market Scott’s paper products became a unique trend of American fashion in the late 1960s. -
A History of the Communication Company, 1966-1967
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Summer 2012 Outrageous Pamphleteers: A History Of The Communication Company, 1966-1967 Evan Edwin Carlson San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Carlson, Evan Edwin, "Outrageous Pamphleteers: A History Of The Communication Company, 1966-1967" (2012). Master's Theses. 4188. DOI: https://doi.org/10.31979/etd.cg2e-dkv9 https://scholarworks.sjsu.edu/etd_theses/4188 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. OUTRAGEOUS PAMPHLETEERS: A HISTORY OF THE COMMUNICATION COMPANY, 1966-1967 A Thesis Presented to The Faculty of the School of Library and Information Science San José State University In Partial Fulfillment of the Requirements for the Degree Master of Library and Information Science by Evan E. Carlson August 2012 © 2012 Evan E. Carlson ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled OUTRAGEOUS PAMPHLETEERS: A HISTORY OF THE COMMUNICATION COMPANY, 1966-1967 by Evan E. Carlson APPROVED FOR THE SCHOOL OF LIBRARY AND INFORMATION SCIENCE SAN JOSÉ STATE UNIVERSITY August 2012 Dr. Debra Hansen School of Library and Information Science Dr. Judith Weedman School of Library and Information Science Beth Wrenn-Estes School of Library and Information Science ABSTRACT OUTRAGEOUS PAMPHLETEERS: A HISTORY OF THE COMMUNICATION COMPANY, 1966-1967 by Evan E. -
A Historiography of the Counterculture of the 1960S
A REALITY TRIP ON THE FREAKS: A HISTORIOGRAPHY OF THE COUNTERCULTURE OF THE 1960S by Robert O. Standish A Thesis/Project Presented to The Faculty of Humboldt State University In Partial Fulfillment Of the Requirements for the Degree Master of Social Sciences Teaching American History May, 2006 ABSTRACT By the 1960s, parts of mainstream American culture had become so extreme and homogenous that a counterculture of completely opposite values and norms emerged. Although its mantra to ‘tune in, turn on and drop out’ was a call to retreat from the American dream, the counterculture nevertheless had a dramatic and lasting impact on the mainstream culture it had rejected. The counterculture was overwhelmingly a youth movement, and its members drifted out of America’s most studied generation, the baby boomers. The great size of the baby boomer generation insured that, whatever course it took, the rest of America would be forced to take notice. The first boomers began to leave the nest in the early 60s, and for the majority of the white members of this generation, weaned on television and raised in a suburban cocoon, the American dream had been realized and they were eager to keep it going. Not everyone was allowed to take part in the dream however. America denied democracy and the materialistic pursuit of happiness to many, most notably African Americans. While still under the repressive chill of the Cold War, the Civil Rights movement burst into the living rooms of white America and made it quite clear that like other marginalized groups, African Americans were not welcome to pursue the dream. -
Synthesis and Nostalgia in 1970S Fashion
‘Fashion is about taking one out of reality, and this is what he achieved.’ These trajectories include a history of western designers appropriating ideas of counter culture or the Manolo Blahnik avant-garde for the fashion high street. (McRobbie, 1987). In my comparison of these design projects I ‘What Ossie and Alice summed up articulated the freedom of what was going on and they did attempt to trace the synthesis of ideas from trans-national themes and the influence of ‘vintage clothing’ drawings - as well as a, then, newly immerging vintage clothing industry. In close this through clothes.’ proximity to the stores and boutiques that sold fashion to the new and expanded youth market, were Fiona Ronaldson the factories and supply chains and networks of production and manufacturer that enabled designers to respond quickly to ideas and how they were unfolding and then respond quickly to CUTTING demand. Reflecting upon that now throws up interesting questions about urban planning and our Background heritage and how new designers are positioned within it –in view of the fact that large scale fashion manufacturing has all but gone from the UK and has been replaced by imported, global, elite retailing Ossie Clark has been sited as the ‘bridge’ between the angular 60s’ fashion, to the floaty, franchises. The coherence of the UK’s fashion identity in the 70s evolved from what has been romantic aesthetic of the early seventies, informed by elements as diverse as ‘the movies’ and the arts acknowledged as the unprecedented success of new patterns of consumption emerging, highlighting and crafts movement (Menkes, 1996). -
The Transatlantic Sixties
Grzegorz Kosc, Clara Juncker, Sharon Monteith, Britta Waldschmidt-Nelson (eds.) The Transatlantic Sixties Volume 4 The series America: Culture – History – Politics is edited by Christof Mauch, Michael Hochgeschwender, Anke Ortlepp, Ursula Prutsch, and Britta Waldschmidt-Nelson. Grzegorz Kosc, Clara Juncker, Sharon Monteith, Britta Waldschmidt-Nelson (eds.) The Transatlantic Sixties Europe and the United States in the Counterculture Decade This book is published with the generous support of the German Historical Insti- tute Washington, DC, the Lasky Center for Transatlantic Studies at the University of Munich, and the University of Southern Denmark. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative ini- tiative designed to make high quality books Open Access for the public good. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 (BY-NC-ND). which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Natio- nalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de All rights reserved. No part of this book may be reprinted or reproduced or uti- lized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any infor- mation storage or retrieval system, without permission in writing from the publisher. -
The Journal of Dress History
The Journal of Dress History Volume 3, Issue 2, Summer 2019 Editor–in–Chief Jennifer Daley Proofreader Georgina Chappell Editorial Assistant Irene Calvi Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 3, Issue 2, Summer 2019 [email protected] www.dresshistorians.org Copyright © 2019 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 (ADH) through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The ADH supports and promotes the study and professional practice of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day. The ADH is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is circulated solely for educational purposes and is non– commercial: journal issues are not for sale or profit. The Journal of Dress History is run by a team of unpaid volunteers and is published on an Open Access platform distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is cited properly. Complete issues of The Journal of Dress History are freely available on the ADH website: www.dresshistorians.org/journal. The Editorial Board of The Journal of Dress History encourages the unsolicited submission for publication consideration of academic articles on any topic of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day. -
Inside Subculture the Postmodern Meaning of Style
Inside Subculture The Postmodern Meaning of Style David Muggleton OXFORD Inside Subculture Dress, Body, Culture Series Editor Joanne B. Eicher, Regents’ Professor, University of Minnesota Advisory Board: Ruth Barnes, Ashmolean Museum, University of Oxford Helen Callaway, CCCRW, University of Oxford James Hall, University of Illinois at Chicago Beatrice Medicine, California State University, Northridge Ted Polhemus, Curator, “Street Style” Exhibition, Victoria & Albert Museum Griselda Pollock, University of Leeds Valerie Steele, The Museum at the Fashion Institute of Technology Lou Taylor, University of Brighton John Wright, University of Minnesota Books in this provocative series seek to articulate the connections between culture and dress which is defined here in its broadest possible sense as any modification or supplement to the body. Interdisciplinary in approach, the series highlights the dialogue between identity and dress, cosmetics, coiffure, and body alterations as manifested in practices as varied as plastic surgery, tattooing, and ritual scarification. The series aims, in particular, to analyze the meaning of dress in relation to popular culture and gender issues and will include works grounded in anthropology, sociology, history, art history, literature, and folklore. ISSN: 1360-466X Previously published titles in the Series Helen Bradley Foster, “New Raiments of Self”: African American Clothing in the Antebellum South Claudine Griggs, S/he: Changing Sex and Changing Clothes Michaele Thurgood Haynes, Dressing Up Debutantes: Pageantry and Glitz in Texas Anne Brydon and Sandra Niesson, Consuming Fashion: Adorning the Transnational Body Dani Cavallaro and Alexandra Warwick, Fashioning the Frame: Boundaries, Dress and the Body Judith Perani and Norma H. Wolff, Cloth, Dress and Art Patronage in Africa Linda B. -
The British Underground Press, 1965-1974: the London Provincial Relationship, and Representations of the Urban and the Rural
THE BRITISH UNDERGROUND PRESS, 1965-1974: THE LONDON PROVINCIAL RELATIONSHIP, AND REPRESENTATIONS OF THE URBAN AND THE RURAL. Rich�d Deakin r Presented as part of the requirement forthe award of the MA Degree in Cultural, Literary, andHistorical Studies within the Postgraduate Modular Scheme at Cheltenham and Gloucester College of Higher Education June 1999 11 DECLARATIONS This.Dissertation is the product of my own work and is. not the result of anything done in collaboration. I agreethat this. Dissertationmay be available forreference and photocopying,. at the discretion of the College. Richard Deakin 111 ABSTRACT Whateverperspective one takes, contradictions in the relationship between the capital and the provinces have always been evident to some extent, and the British undergroundpress of the late 1960s and early 1970s is no exception. The introductoryfirst chapter will definethe meaning of the term 'underground' in this context, and outline some of thesources used and the methodologies employed. Chapter Two will show how the British underground press developed froman alternative coterie of writers, poets, and artists - often sympathisers of the Campaign forNuclear Disarmament movement. It will also show how having developed from roots that were arguably provincial the undergroundadopted London as its base. The third chapter will take a more detailed look at the background of some London and provincial underground publications andwill attempt to see what extent the London undergroundpress portrayed the provinces, and vice-versa. In Chapter Four actual aspects of lifein urbanand rural settings, such as communes, squats, and pop festivals,will be examined in relation to the adoption of these lifestylesby the wider counterculture and how they were adapted to particular environments as part of an envisioned alternativesociety. -
Styling by the Sea 140 Years of Beachwear
Styling by the Sea 140 Years of Beachwear Introduction – The 1960s Everything changed. The decade of the 1960s witnessed the beginning significant alterations in American society. The conformity, and relative innocence of the 1950s gave way under the pressures associated with members of the Baby Boom generation entering young adulthood. These young adults were growing up with freedoms and a level of prosperity that contrasted dramatically with the lives of their parents who knew want and the uncertainties of war as adolescents and young adults. As teen culture became stronger, the term “Youthquake" came to mean the power of young people and was taken up in the world of fashion appearing in magazines such as Vogue under Diana Vreeland. Teenagers during this period had more time to enjoy their youth, and the freedom to create their own culture separate from their parents. These “Baby Boomers” had unprecedented buying power and corporate America was ready to capitalize on the opportunities it presented. Independent tastes in clothing and especially music began to chip away at social and racial barriers. The generational divide widened as the decade progressed and continued into the 1970s. The ease of life, and the sense of safety provided by a well-ordered world was shattered for many people by the assassination of President John F. Kennedy in 1963. This tragedy was followed by the assassinations of Dr. Martin Luther King and Robert F. Kennedy in 1968. The tumult of this era was expressed in many ways, and one of them was in dress, and this included swimwear. The conservative classicism that characterized the 1950s gave way to miniskirts for girls and long hair for boys as they pressed the acceptable limits for modesty and gender appropriateness. -
Defining American Casual: an Examination of the American Woman's Steady Shift Toward Informal Attire at Work and on the Streets
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2011 Defining American Casual: An Examination of the American Woman's Steady Shift toward Informal Attire at Work and on the Streets Victoria Elizabeth Smith [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Social and Cultural Anthropology Commons Recommended Citation Smith, Victoria Elizabeth, "Defining American Casual: An Examination of the American omanW 's Steady Shift toward Informal Attire at Work and on the Streets" (2011). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1475 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Defining American Casual An Examination of the American Woman‟s Steady Shift toward Informal Attire at Work and on the Streets Victoria E. Smith Senior Thesis, Anthropology The Chancellor’s Honors Program The University of Tennessee Spring 2011 Table of Contents Introduction ....................................................................................................................................3 -
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Essays – peer-reviewed USAbroad – Journal of American History and Politics. Vol. 1 (2018) https://doi.org/10.6092/issn.2611-2752/7162 ISSN 2611-2752 The Fashion of the 1960s. A New Power Shaping the American Image Alice Morin Submitted: July 17, 2017 – Accepted: October 16, 2017 – Published: March 1, 2018 Abstract After WWII, the US emerged as a major world-economic and cultural power. At the same time,it was producing a specifically American fashion, reinventing itself and its image, and channeling the critics. With new styles and new economic forms emerging in the 1960s—as the US, eager to expand its mass consumerist model, pushed ready-to-wear, replacing European couture—American fash- ion became as a new power, intertwining economic and political, social, and cultural stakes. Thus, fashion helped design a dominant model of a wealthy, free, and seductive country, able to better itself, even though reality was still far from this idealized image. Keywords: Fashion; Soft Power; Recuperation; Subcultures; Political Movements Alice Morin: Université Sorbonne Nouvelle-Paris 3 (France) http://orcid.org/0000-0001-6840-6005 Contact: [email protected] Alice Morin is a Ph.D. candidate and teaching assistant at Paris III-Université Sorbonne Nouvelle. Her work fo- cuses on fashion photography in the American press from the 1960s. Copyright © 2018 Alice Morin Art. #7162 This work is licensed under the Creative Commons BY License. p. 1 https://creativecommons.org/licenses/by/4.0/ The Fashion of the 1960s USAbroad. Vol. 1 (2018) 1 Introduction The fashion of the 1960s is often referred to as “revolutionary” and while this opinion may initially seem exaggerated, especially with regard to other events of the period that profoundly changed men- talities, behaviors, and laws, one merely needs to compare photographs from 1959 and 1969 to assess the depth of the turnaround that came about during the decade.1 Such magnitude is noticeable in the aesthetic upheavals as well as in the number of people concerned—more or less all the inhabitants of the Western world. -
Charles Kleibacker, Master of the Bias Cut; Designs, Construction and Techniques
CHARLES KLEIBACKER, MASTER OF THE BIAS CUT; DESIGNS, CONSTRUCTION AND TECHNIQUES DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joycelyn Falsken, M.A. ***** The Ohio State University 2008 Dissertation Committee: Professor Patricia A. Cunningham, Adviser Professor Kathryn A. Jakes Professor Alice L. Conklin Curator Gayle M. Strege Copyright by Joycelyn Falsken 2008 ABSTRACT Charles Kleibacker was a fashion designer in New York City from 1960 to 1986, a time when fashion styles reflected the turmoil that occurred in society throughout those years. However, through it all Charles maintained an individual design aesthetic – soft figure-flattering bias dresses with a classic look that could be worn for years. This earned him a devoted clientele of women who purchased his designer ready-to-wear garments at top stores in New York, or were custom fit in his workshop. Because of his preference for and skill with bias, he became known as the Master of the Bias Cut. Trained in French couturier methods of construction, Kleibacker’s garments were all produced with the highest standards in fabric, construction and fit. Bias is known to be the most difficult ‘cut’ to work with when constructing garments. Charles experimented until he figured out how to solve the challenges, and then trained his workers in the exacting techniques required. Having first a career in journalism, Charles’ path to fashion was in “no way normal” and his approach to his business and the industry was not the norm either. Starting small, through much determination and sacrifice, he overcame many obstacles to produce garments engineered for an enduring and graceful artistry.