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The Intellectual Assault Course

Of course, we could be more ambitious in our attempts to describe the clothes. We could pore over our task until we were satisfied that what we had written fully described a particular garment and its intended significance to the customer, but what would be the point The customer would expect to be able to understand the idea without the aid of our little essay, and although we use words and images to promote them, we ultimately sell clothes, not words. But those with an interest in fashion whose stock-in-trade is the word face a different problem. Writers on fashion understandably wish to rise to the challenge of translating the garment into the word, offers her sympathy to those 'whose brains have been taxed by over-modish and illiterate writing on art dress, especially in the field of popular culture'.29 Barthes describes how, once it passes into written communication, fashion becomes an 'autonomous cultural object' whose functions are more analogous

Trying to Just Be Myself

Here's a few snippets from a well known fashion writer. If we can get beyond that first reaction and pay attention to the clothes, there's actually a lot to learn here. This clothing has visual impact. It has social impact. There are cultural implications to the outfits. It's also important to appreciate the writer's dedication to fashion and his love for writing about it.

The Golden Age of Hollywood

Prior to the Hays Code, many films featured a more obvious sexuality and laid considerable stress on experience. In the 1920s and early 1930s, stars like Greta Garbo and Marlene Dietrich played world-weary women who had seen everything and were shocked by nothing. Frequently, as in Garbo's Susan Lennox and Dietrich's Shanghai Express, they played women who had been abandoned by lovers and had turned to prostitution. As Lea Jacobs has shown, 'fallen women' movies exercised a great appeal during the Depression years because they legitimated the use of sexuality as a means by which women could escape poverty and hardship.17 These images also drew on the theatrical tradition of the femme fatale that had been established in the nineteenth century by writers like Th ophile Gautier and actresses such as Sarah Bernhardt. Garbo and Dietrich were both enigmatic, even exotic, European women whose allure was enhanced by costumiers like Adrian at MGM and Travis Banton at Paramount, as well as the...

Ganibesons Jacks and Brigandines

Examples Lettering

Jack, pourpoint, heuk, brigandine, haubergeon, gambeson, hacketon and arming coal were terms used freely by medieval writers to decribe a range of garments, mostly defensive. Different words are sometimes used in the same document to describe the same thing at other times the same words refer to different things, whose distinctions were obviously clear to the writer -though not to us. Today we generally refer to padded fabric (B) 15th century writers mention the characteristic thigh-length 'soft' jacks of English troops. In 1483 the Duke of Gloucester's men were described as wearing jacks 'stuffed with tow The softer the tunics the better do they withstand the blows of arrows and swords'. Fouquet portrayed footsoldiers in long padded garments, sometimes worn under mail shirts, presenting a similar silhouette. The later Flemish artist Mcmling shows close-fitting, fashionably-waisted jacks.

Show A Picture Of The Hat Called The Deerstalker

Men With Deerstalker Hats

More than a sportsman's cap, the deerstalker is commonly associated with British writer Arthur Conan Doyle's (1859-1930) fictional detective Sherlock Holmes. It became such a recognized symbol of Holmes thanks to illustrator Sidney Paget (1860-1908). Although Doyle never referred to his character Sherlock Holmes as wearing a deerstalker, Paget drew the cap on Holmes's head in several stories, perhaps because he himself wore one. Actors playing

What is customization

Mass customization is the production and sale of highly individual products and services on a bulk scale, to a mass market. In other words, it is the provision of customized products and services to every consumer who desires so. It involves using mass production techniques and economies of scale processes to manufacture a larger variety of products at lower costs and capture more personal style needs of customers. Writer and notable proponent of mass customization, B. Joseph Pine calls this 'Economies of Scope' in his book, Mass Customization The New Frontier in Business Competition. Economies of scope involve companies saving money on a wide range of possibilities in products and services offerings, in the same way that mass production saves costs through economies of scale.

The Uniform Of The British Army

In the London Chronicle for 1762, vol. xi., a writer says, I hope no person will think us disaffected, but when we meet any of the new-raised infantry wearing the buttons of their hats bluff before, and the trefoil white worsted shaking as they step, we cannot help thinking of French figure dancers.

Ecclesiastical Costume

The figure of a bishop of this period represents him in a bonnet, slightly sinking in the centre, with the pendent ornaments of the mitre (vittae or infulae) attached to the side of it. The chasuble retains its original shape the dalmatica appears to be arched at the sides the pastoral staff is exceedingly plain, and reminds us strongly of the Roman lituus, which is said by some writers to have been its prototype.

The Technological Boom

Chicago Rubber Bunker Fire Coat

The whole concept of protective clothing expanded exponentially during the second half of the twentieth century. The explosion of technological advances during this time made possible forms of protective clothing that had previously existed only in the minds of writers of science fiction. As in the case of armor, new hazards inspired new protective clothing designs. And new designs often changed the behavior of their wearers.

National Costume Of Scotland

Vogue Williams Cheltenham

The seals and monuments of the early kings and nobles of Scotland represent them armed and attired in the same fashion as their Anglo-Norman contemporaries. Illuminated MSS. afford us no assistance and Lesly, Buchanan, and Beaugne, all writers of the sixteenth century, bear the first unequivocal testimony to the existence and prevalence of a party-coloured garment in Scotland. To these three authors may be added the writer of a chronicle of the same date, preserved in Lord Somers's Tracts, who tells us, the inhabitants of the Western Isles delighted to wear marled cloths, especially that have long stripes of sundry colours. Their predecessors used short mantles or plaids of various colours, sundry ways divided, and amongst some the custom is observed to this day but for the most part now, they are brown, most near to the colour of the hadder (heather), to the effect when they lie among the hadder the bright colours of their plaids shall not betray them. The breachan or plaid, we are...

Gloves Of Oliver CpvOMWELL

Historic Shoes

AKIGKLY interesting and well-authenticated pair of gloves which belonged to the Protector. Their sturdy and workaday appearance at once suggests the character of their former owner. They are made of stout darkish grey leather, with plain stitching of the linger seams and on the back of the hands the gauntlets are wide and have a heavy thick fringe of twisted brown silk about 5 inches long, the total length oi the gloves being, from che tip of the middle nnger to the end of the fringe, 17 inches the breadth across the knuckles is 4-L inches. They are in excellent preservation, owing probably to the fact that tili quite within what ma) be called recent times they have been carefully treasured by some member of Cromwell's family. They came into the possession of the writer in 1877, having been purchased in September of that year from Mr. Charles Martin, of Ford ham, Cambridgeshire, who died at the age of ninety-two. Mr. Martin acquired them as a gift from an old lady, a native (like...

Fashioning the Feminine Fashion Gender and Representation

The history of fashion is a field of study which overlaps and impinges upon many others. Analysis of fashion, dress and clothing tends to crop up in a number of academic contexts social and economic historians have used it as a barometer of social change and patterns of consumption cultural theorists have interpreted it as a site of complex discursive practices art historians have analysed dress as part of the 'visual' culture of a specific period and design historians have viewed it as intrinsic to the processes of cultural production and consumption. In 1985, in the then ground-breaking Adorned in Dreams Fashion and Modernity, Elizabeth Wilson, who ranks along with Angela McRobbie as one of the most significant contributors to the development of the subject in the last 15 years, described fashion as 'a kind of connective tissue of our cultural organism'.2 For Wilson, dress acts as a metaphysical layer which mediates between the body, ostensibly natural, and the social and the...

Early Twentieth Century

Greenwich Village, New York, became the epicenter for avant-garde thinking and dressing during the 1910s and 1920s. Poets, writers, artists, socialists, feminists, and philosophers flocked to this shabby neighborhood to share their progressive ideas on life and art, that found expression in the clothes they wore. Greenwich Village became synonymous with bohemian and alternative fashion that included uncorseted, straight tunic dresses, loose jackets, and bobbed hair for women. Greenwich Village artists appear to be particularly associated with the revival of the batik technique that became a popular form of artistic dress decoration during the late 1910s and 1920s. This anti-fashion provides a link with the European artistic dress movements of the previous century and set the stage for avant garde experiments in dress later in the twentieth century.

Origins and Development

Contrary to contemporary popular belief, tartan patterns have no traceable historical links with specific Scottish families or clans. These associations developed from the early nineteenth century, when they were actively promoted by historians and writers, as well as woolen manufacturers and tailors. Tartan, however, was by 1600

Introduction To The First Edition

The true spirit of the times is in nothing more perceptible than in the tone given to our most trifling amusements. Information of some description must be blended with every recreation, to render it truly acceptable to the public. The most beautiful fictions are disregarded unless in some measure founded upon fact. Pure invention has been de-clared by Byron to be but the talent of a liar, and the novels of Sir Walter Scott owe their popularity as much to the learning as to the genius displayed in their pages or the mystery which so long surrounded the writer.* The days have gone by when archaeological pursuits were little more than the harmless but valueless recreations of the aged and the idle. The research, intelligence, and industry of modern authors and artists have opened a treasure-chamber to the rising generation. The spirit of critical inquiry has separated the gold from the dross, and antiquities are now considered valuable The assertion so coolly hazarded by some writers,...

Common Silk Textile Uses

SIMMEL, GEORG The German sociologist and philosopher Georg Simmel was born in Berlin on 1 March 1858 to assimilated Jewish parents. Between 1876 and 1881 Simmel studied history and philosophy in Berlin. His doctoral thesis (1881) and post-doctoral dissertation (1885) both dealt with Immanual Kant. His rhetorical gift proved to be successful with academic and nonacademic audiences alike, and his lectures became social events. In 1890 he married the writer Gertrud Kinel. A year later they had their only son, Hans. In 1894 he published the essay The Problem of Sociology, which inaugurated a separate social science. Simmel and his wife were at the center of cultural circles in Berlin their friends included the poets Rainer Maria Rilke and Stefan George as well as the sculptor Auguste Rodin. In 1903 his essay The Metropolis and Mental Life constituted an early study of urban modernity. Latent anti-Semitism, reservations about the academic validity of sociological studies, and envy of...

The Seventeenth Century

Louisiana Grandfather Clause

Archer's mantle is black, and he wears the high-crowned hat of the time. Both appear to be in the strait truis. . Morryson, a writer of the reign of James I., describes elaborately but coarsely the dress of the Jrish in his time. The English fashions, it would appear from him, had amalgamated with the Irish amongst the higher orders, and produced a costume differing not very widely from that of similar classes in England but touching the meare or wild Irish, it may truly be said of them, which of old was spoken of the Germans, namely, that they wander slovenly and naked, and lodge in the same house (if it may be called a house) with their beasts. Amongst them the gentlemen or lords of counties wear close breeches and stockings of the same piece of cloth, of red or such light colour, and a loose coat and a cloak or three-cornered mantle, commonly of coarse light stuffe made at home, and their linen is coarse and slovenly, because they seldom put off a shirt till it be...

Semipermanent and Temporary Tattoos

The earliest labeled tea gowns discovered to date appeared in the 1878 British periodical, The Queen, The Lady's Newspaper. These one-piece gowns with long sleeves, high necklines, and back trains were made to give the impression of being closely fitted open robes with under dresses. One had the Watteau pleats and was named The Louis XV Tea Gown. This is of interest as it names its source of inspiration and reinforces the eighteenth-century salon connection that was mentioned by writers

Post Modernism and Post Subculture

Plex cross-fertilization of time-compressed stylistic symbols in an increasingly global context. It is further argued that the identities fashioned from these diverse sources are themselves ever more eclectic, hybrid, and fragmented. Such a position has led some writers to proclaim that subculture traditionally used to denote a coherent, stable, and specific group identification is no longer a useful concept by which to comprehend these so-called post-modern or post-subcultural characteristics of contemporary styles.

The Invisible Designer

Changes in dress and fashion do not happen of their own accord. Human agency, in the form of fashion designers, a vast apparel industry, and a critically responsible consuming public, is necessary in order to bring them to pass. Obvious as this may seem, it is often lost sight of by the many writers who view the succession of fashion as somehow fated or ineluctably driven by the Zeitgeist's flux.47

Qin 221206 bce and Han 206 bce220 ce Dynasties

Finds in remote areas have added to our understanding of production and commerce relating to silk textiles. Sir Aurel Stein found in Western China a strip of undyed silk inscribed by hand stating the origin, dimensions, weight, and price. A seal impression designates its origin in Shandong province in Northeast China. Other finds established the standard selvage-to-selvage width of Han silk, at between 17 h and 19 h inches (from 45 to 50 centimeters). At Loulan, in the Tarim Basin in the far Northwest of modern China (Xinjiang province), excavated by Stein (1906-1908 and 1913-1914), Han figured silk textile fragments (datable to the third century c.e. or earlier) were found together with an early example of slit tapestry woven in wool. The latter may be a precursor of the later kesi slit tapestry in silk. Finds at Noin-Ula, in northern Mongolia, dated second century c.e., give further evidence of the widespread exchange of silks throughout Asia. Although details of the trade are yet...

To View This Figure Please Refer To The Printed Edition

In this tiny episode from the life of a designer, it is important to note that the development of the product was the result of the designer's colloquy with other agencies, linking it to its various markets supply base, technological development, means of diffusion and customer. It indicates that, in a sea of shifting meanings, fashion is successfully launched when there is a consensus about the meaning of a garment shared by the designer, the customer, and the various agencies that mediate between them (which, of course, would include the press). It would also appear to confirm Craik's theories about the relationship between a new fashion and previous ones although her choice of the word 'compromise' indicates that she does not recognise the creative challenge of achieving this delicate balance. It also indicates a positive answer to Davis' question, 'Can they (designers) somehow divine women's inchoate yearnings so as to fashion into cloth new symbolic arrangements that assuage or...

The Fashion Polyglott

Literature, sociology, psychoanalysis, psychology, semiotics, structuralism, Marxism, feminism and others. Malcolm Barnard insists that 'because fashion and clothing impinge on so many disciplines they must be studied in terms of those disciplines'.14 Few writers recognize this as a problem. Elizabeth Wilson, for example, urges that the 'attempt to view fashion through several different pairs of spectacles simultaneously' is congruent with the postmodernist aesthetic to which fashion, with its 'obsession with surface, novelty and style for style's sale' is particularly well-suited.15 For the student of fashion, the disadvantage with this fragmentary academic configuration is the uncertainty of obtaining the insight he or she seeks from a particular text. James Laver anticipated the problem with his reference to Carlyle's Sartor Resartus and its central character 'Teufelsdrock, Professor of things-in-general', author of the imaginary book 'Die Kleider, ihr Werden und Wirken' ('Clothes,...

The Habits Of The Nobility

Were of course more influenced by fashion and the reign of Rufus is stigmatized by the writers of the period for many shameful abuses and innovations. The king himself set the example, and clergy and laity became alike infected with the love of extravagant and costly clothing. The short tunic was lengthened and worn fuller, and the sleeves particularly so. The long tunic, worn on state occasions, and the interula, or linen vestment worn beneath it, positively trailed upon the ground. The sleeves were also of length and breadth sufficient to cover the whole hand.8 But that gloves were now worn, at least by the higher classes, we find from the account of the Bishop of Durham's escape from the Tower during the reign of Henry I., as, having forgotten his gloves, he rubbed the skin off his hands to the bone in sliding down the rope from his window.8 The mantles were made of the usual caprice of fashion the Anglo-Normans seem to have run into the opposite extreme for William of Malmesbury,...

The Beginnings of Fashion

French writers of the period called elaborate versions of these fitted styles bliauts. The garment is described as being made of expensive silk fabrics. Its appearance indicates that the fabric was probably manipulated using bias (diagonal pieces with greater stretch) insets to assure a close fit and that elaborate pleats were used in the skirt. Clearly advances were being made in clothing construction.

Neglected Dimensions and New Developments

In a chapter in Resistance through Rituals, Angela McRobbie and Jenny Garber noted that most of the subcultures and styles examined by the CCCS appeared overwhelmingly male in both composition and orientation. They concluded that girls had actually been present in such subcultures, but were rendered marginalized and invisible by the masculinist bias of the writers. It was only with the publication nearly a quarter of a century later of Pretty in Punk, Lauren Leblanc's noteworthy text on Canadian female punk rockers, that females in a male-dominated style subculture were studied comprehensively, in their own right

Atmospheric Perspective

As objects recede in space they not only appear to shrink in size, but tend to lose detail, contrast of values, intensity of color, and their edges appear less distinct the greater the distance from the viewer's eyes. This is the principle of Atmospheric Perspective. Some writers call it aerial perspective, but this is misleading, as the term, aerial usually pertains to flying.

Clothing Costume And Dress

Clothing, costume, and dress indicate what people wear, along with related words like apparel, attire, accessories garments, garb, outfits, and ensembles. Many writers have tried to figure out why and when human beings began to decorate and cover their bodies the reasons go beyond obvious considerations of temperature and climate, because some people dress skimpily in cold weather and others wear heavy garments in hot weather. Common reasons given are for protection, modesty, decoration, and display. One can only conjecture or speculate about origins, however, because no records exist detailing why early humans chose to dress their bodies.

The General Male Costume

Of this period may be gathered from the following extracts from the Chronicles of Monstrelet and Paradin's Histoire de Lyons, for there was no fashion so ridiculous started in France, but then, as now, it was immediately adopted in England. The former writer tells us that the jackets, doublets, or pourpoints, were cut shorter than ever, and the sleeves of them slit, so as to show their large, loose, and white shirts the shoulders were padded out with large waddings called mahoitres, and so capricious were the beaux of the period, that he who to-day was shortly clothed, was habited to-morrow down to the ground. They wore their hair so long that it came into their eyes, and they covered their heads with bonnets of cloth a quarter of an ell or more in height all of them, as well knights as squires, wore chains of gold of the most sumptuous kind. Even boys wore doublets of silk, satin, and velvet and almost all, e ecially in the courts of princes, had points at the toes of their shoes a...

Historical Precursors

One can trace the circumstances that gave rise to discourses on dress and appearance as far back as the eighteenth century, to the emphasis placed on the self-made man under conditions of industrial capitalism and the rise of Romanticism. The eighteenth and nineteenth centuries heralded an era of upward mobility the new capitalist classes were achieving status and power through their own efforts, not through privileges of the old aristocracy. Individuals could, in other words, rise through the social hierarchy by virtue of their own efforts. This idea of the enterprising self reached its apotheosis with the ascendancy of neo-liberalism in the 1970s and 1980s under Reaganomics and Thatcherism in other words, around the same time as dress-for-success ideas took hold. However, in the history of our modern self, another discourse at variance with capitalism is also important, namely Romanticism, and it underpins the idea of dress for success. Romantic poets, painters, and writers...

9th Century Germany

9th Century German Warrior

The common footsoldicr of the Middle Ages remains an obscure figure. Clerks recorded what arms and armour he had and how much he cost, but almost never what he wore, carricd in his pack, or thought about. Artists and writers have busied themselves with the warrior patrons who paid him. There are no diaries of an ordinary halberdier, no voices from the ranks, as there are for Wellington's Peninsular army. Nevertheless, in reading what the soldier of 1812 wrote, I believe we can get a glimpse of his distant ancestor.

A question of luxury

When the fashion design icon Coco Chanel stated that 'luxury is a necessity that begins where necessity ends', she knew exactly what she was talking about. Also as far back as 1899, notable writer T.B. Veblen acknowledged in his celebrated text The Theory of the Leisure Class, that the consumption of luxury goods was a 'conspicuous waste'. The truth is that we don't need luxury goods to survive as human beings, but we need luxury goods to fuel the sensations that contribute to our overall appreciation of ourselves and our lives. It may sound uncanny but the appealing brand features that luxury fashion represents contribute to our general well-being.

Not serious business

A respected writer and branding expert recently told me that he believes that luxury brands deceive customers by selling over-priced branded goods that are produced at a fraction of their price tags. I disagree with this view (excuse me, Mark). I subscribe to the apparent fact that luxury brands provide a complete package of significant benefits to consumers, the social environment and the global economy. When people purchase a luxury fashion item, they don't just buy the product but a complete parcel that comprises the product and a set of intangible benefits that appeal to the emotional, social and psychological levels of their being. It is quite challenging to find another sector apart from luxury goods, that can claim an emotional connection with their consumers to such an extent that the desire for a product increases as the price tag increases.

Sonia Rykiel

Rykiel's approach to fashion is playful, unexpected, and witty. She mixes and matches and shows clothing with seams on the outsides of her garments. She puts velvet in her jogging togs and Lurex in her loungewear. She has dressed the rooms of hotels and hospitals (Hotel de Crillon, Hotel Lutetia, and the American Hospital of Paris) she has created costumes for the theater and she has recorded albums and appeared in film. Her licensed products include a Laguiole knife, stationery, fragrances, ties, eyeglasses, watches, and porcelain dinnerware. In addition, she has written five books, including a novel, and she is an active member of the Association of Women Writers.

Dandy Philosophy

Defining dandyism is a complex task, and few writers have done so more successfully than Lord Edward Bulwer-Lytton in his treatise on the dandy of 1828, Pelham or, The Adventures of a Gentleman. Considered at the time to be a manual for the practice of dandyism, it amply demonstrates the growing link between the promotion of the self and promotion through the social ranks. Notable maxims include III Always remember that you dress to fascinate others, not yourself, and XXIII He who esteems trifles for themselves is a trifler he who esteems them for the conclusions to be drawn from them, or the advantage to which they can be put, is a philosopher (pp. 180-182).

The Female Costume

Figure Drawing Template Egyptian

Of this period has been severely satirised by contemporary writers, as we have already remarked, and we are inclined-to think unjustly so for, in nearly all the illuminations of this reign, it appears elegantly simple, particularly when compared with that of the reign of Rufus, the tasteless and extravagant fashions of which certainly provoked and deserved both ridicule and reprobation. Gauze, Latinized gazzatum, and thought to have derived its name from being manufactured at Gaza, in Palestine, Brunetta or burnetta, and several other fine and delicate stuffs, are mentioned by writers of this reign.7 Tartan, in French tyretaine, in Latin tiretanus, was a fine woollen cloth, much used for ladies' robes, and generally of a scarlet colour.8 John de Meun speaks of 8 From whence, probably, its name, the teint or colour of Tyre scarlet being indifferently used for purple by the early writers, and including all the gradations of colours formed by a mixture of blue and red, from indigo to...

Africa

Etruscan Tebenna

TIGHT-LACING The term tight-lacing refers to the laces that tighten a corset. There is no generally accepted definition of what constitutes tight-lacing since it could be argued that any corset that is not loose is tight. Furthermore, there is no agreement as to how tightly corsets were usually laced. Some nineteenth-century writers argued that any use of the corset was dangerously unhealthy, whereas others tolerated or praised moderate corsetry, reserving their criticism for tight-lacing, however this might be defined. When they mentioned measurements at all, they variously defined tight-lacing as a reduction of the waist by anywhere from three to ten inches. That is, depending on the definition, a natural waist of, say, 27 inches might be reduced to a circumference of anywhere between 24 inches and 17 inches. Between 1867 and 1874 EDM printed dozens of letters on tight-lacing, as well as on topics such as flagellation, high heels, and spurs for lady riders. Later in the century,...

Willi Smith

When Willi Donnell Smith died, at age thirty-nine, a New York Daily News fashion writer called him the most successful black designer in fashion history (Martin, p. 383). However, as Richard Martin pointed out in a biographical sketch of Smith, there were countless fans of his sportswear style who may never have known or cared whether he was Black,

Influences on Beaton

Men Fashion 19th Century

Beaton was a writer, artist, actor, and a costume and set designer for ballet and theatre, as well as a renowned self-taught fashion designer. He received two Oscars, one for costume design for the film Gigi, and the second for set and costume design for the play and film My Fair Lady. John Springer Collection Corbis. Reproduced by permission. Cecil Beaton. Beaton was a writer, artist, actor, and a costume and set designer for ballet and theatre, as well as a renowned self-taught fashion designer. He received two Oscars, one for costume design for the film Gigi, and the second for set and costume design for the play and film My Fair Lady. John Springer Collection Corbis. Reproduced by permission.

Hamburg

Haug included the way goods are presented, and how this presentation has changed the shopping experience, in his critique of commodity aesthetics. The goods are dispersed in the dramatisation the consumer no longer faces a product but a scenario.505 For the seasonal sale, the nullification of the commodity is the overall concept. No other product is used, and the pure scenario remains. The seasonal sale is the radical formulation of the tendency by which the things disappear in the scenario so that only wishes and fears remain as the basis of the dramatisation. Use value and exchange value of the commodity transcend into the fear of the new fashion trend's arrival. Surprisingly, more and more contemporary writers are now corroborating the new trend of the shop as theatre

Benetton

One fashion writer even commented, They're not fun or buzzy in the way that Gap is. It's about as much of a retail experience as McDonald's is a culinary one (Mills). To regain market share and profits in the United States, Benetton signed a deal with Sears, Roebuck and Company to launch the line Benetton USA in 1999. The line, which would be manufactured by Sears from designs created by Benetton, was expected to generate 100 million for Benetton during the first year and boost the image of both Benetton and Sears. However, after the Benetton death row advertising campaign resulted in lawsuits in Missouri and picketing by victim rights groups in Texas, Sears canceled the Benetton deal.

Nineteenth Century

From the early nineteenth century, the ideals of Romanticism were reflected in female stage costumes through the introduction of close-fitting bodices, floral crowns, corsages, and pearls on fabrics, as well as necklace and bracelets Neoclassical style still dominated the design of male costumes. Moreover, the role of the ballerina as star dancer became more important and was emphasized with tight-fitting corsets, bejeweled bodices, and opulent headdresses. In 1832, Marie Taglioni's gauze-layered white tutu in La Sylphide set a new trend in ballet costumes, in which silhouettes became tighter, revealing the legs and the permanently toe-shoed feet. From this point on, the silhouette of ballet costumes became more tight fitting. The choreography required that ballerinas to wear pointe shoes all the time. The Russian ballet continued to develop in the nineteenth century and such writers and composers as Tolstoy, Dostoevsky, and Tchaikovsky changed the meaning of ballet through the...

Culloden and After

From the early nineteenth century tartan began to be internationally recognized as representative of Scottish, rather than merely Highland Scottish, identity. Its popularity was linked to romanticized notions of Scottish history put forward by writers such as the poet James MacPherson in his dubious translations of the work of the Gaelic bard Ossian. The more credible literary works of Sir Walter Scott also increasingly captured the public imagination. Scott played a significant role in orchestrating the well-publicized visit of King George IV to Edinburgh in 1822, during which the monarch appeared in a version of full Highland dress. This royal endorsement of tartan was continued from the 1840s by Queen Victoria, and was a great stimulus to its fashionability in Britain, France, and elsewhere.

Apologies

It is fairly safe to assume that a student or practitioner of fashion has selected the area because he or she believes it to be worthwhile and rewarding, if not in every aspect, at least in part. One might challenge the political, ethical or moral structure of the industry, but in continuing his or her study or practice, would presumably have a vision of some alternative model. No one working within the discipline in a practical capacity would expect to have to continually justify being there. But it seems that writers on fashion cannot, or at least have not, been able to enjoy such security. Elizabeth Wilson has explained that 'because fashion is constantly denigrated, the serious study of fashion has had to repeatedly justify itself. Almost every fashion writer, whether journalist or art historian, insists anew on the importance of fashion both as a cultural barometer and as an expressive art form'.20

Active Protection

PROUST, MARCEL Marcel Proust (1871-1922) is the author of the sixteen-volume A la recherche du temps perdu (known in English as Remembrance of Things Past 1922-1931 ). The first volume was published in 1913, and the last after the writer's death. These novels reveal not only Proust's expert knowledge of dress he researched

The Military Habit

Addison, in the Spectator, has a pleasant letter on this subject, comparing the steeple head-dress to the commode or tower of his day and, following Paradin, he says, The women might possibly have carried this Gothic building much higher had not a famous monk, Thomas Conecte by name, attacked it with great zeal and resolution. This holy man travelled from place to place to preach down this monstrous commode and succeeded so well in it that, as the magicians sacrificed their books to the flames upon the preaching of an apostle, many of the women threw down their head-dresses in the middle of his sermon, and made a bonfire of them within sight of the pulpit. He was so renowned, as well for the sanctity of his life as his manner of preaching, that he had often a congregation of twenty thousand people, the men placing themselves on the one side of his pulpit, and the women on the other, that appeared (to use the similitude of an ingenious writer) like a forest of cedars with their heads...

Proust the Dandy

When Jacques-Emile Blanche completed his portrait of the young writer Proust in 1892, he captured on canvas Proust's image of himself, which has become our own. Possibly, he was first thought of as a dandy, a socialite, and a darling of the duchesses moving between the different worlds of fin-de-si cle Paris with infinite ease and last as a novelist. He was, in fact, born to wealthy middle-class parents. His father, a Catholic, was a surgeon, and his Jewish mother was the daughter of a stockbroker. Proust's entr e into society and his literary career began when he was still a schoolboy. At the Lyc e Condorcet (1891-1893), his friends included the children of literary and artistic families, who invited him into their world and their salons he and his friends edited and published two literary magazines.

Prousts Legacy

Although other writers have been fascinated by fashion, Proust is among the first to mention designers by name and to award them equal stature with painters and composers. Perhaps no author before him described an outfit, jewels, or accessories in such careful, minute detail. More significant, perhaps, is his roman- -clef technique celebrities are thinly disguised and their valorization permeates his work. In the twenty-first century's celebrity-dominated culture, this seems peculiarly pertinent.

Authors note

I have a unique neutral position in not having a pedigree from any of the luxury key markets. This implies that my analysis in presentation of the luxury fashion sector is likely to be highly objective. Previous writers on the subject of fashion have often been accused of a biased point of view in favour of their countries or the brands that provide them with financial backing. So I hope these will be some of the criticisms I might escape. However, I apologise in advance if after reading this book, you feel that it has a French undertone. This is probably the effect of writing ' c t de la Tour Eiffel '

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