The importance of fashion and design in an events context remains under-researched, despite their ubiquity and significance from a societal and economic perspective. Fashion-themed events, for example, appeal to broad audiences and may tour the globe. Staging these events might help to brand destinations, boost visitor numbers and trigger popular debates about the contributions that fashion and design can make to identity. They may also tell us something about our culture and wider society. This edited volume for the first time examines fashion and design events from a social perspective, including the meanings they bestow and their potential economic, cultural and personal impacts. It explores the reasons for their popularity and influence, and provides a critique of their growth in different markets. Events examined include fashion weeks, fashion or design themed exhibitions, historical re-enactments, extreme/alternative fashion and design events, and large-scale public events such as royal weddings and horse races. International examples and case studies are drawn from countries as diverse as the USA, UK, Germany, Bhutan, New Zealand and Australia. These are used to develop and critique various thematic concepts linked to fashion and design events, such as identity, gender, aspirations and self-image, commodification, authenticity, destination development and marketing, business strategy and protection/infringement of intellectual property. Fashion, Design and Events also provides a futurist view of these types of events and sets out a future research agenda. This book has a unique focus on events associated with fashion and design and features a swathe of disciplinary backgrounds. It will appeal to a broad academic audience, such as students of art and design, cultural studies, tourism, events studies, sociology and marketing.

What's hot in Italian fashion now, and what soon will be hot. New stars are rising in the Italian fashion world--a varied group comprised of a young generation of designers who studied at fashion schools in Italy and abroad, who love contemporary art and architecture and are not afraid of facing new challenges. They all understand that it is necessary to go beyond the label of "Made in Italy" in order to find a new global identity for Italian fashion. The designers have been chosen by Maria Luisa Frisa for their critical philosophy of breaking with tradition and their ability to define new scenarios that emphasize "dressing" as part of a composite process.

From the momentus invention of the needle some 40,000 years ago to the development of blue denim, from Neolithic weavers to the biggest names in the fashion industry today - this classic guide covers the landmarks of costume history, the forms and materials used through the ages, the underlying motives of fashion and the ways in which clothes have been used to protect, to express identity, and to attract or to influence others. This sixth edition features a new foreword and concluding chapter by Amy de la Haye. The book is brought right up to date with a discussion about the major political shifts within the fashion industry, highlighting how it has responded to issues surrounding racism and sexism; LGBTQI rights; mental health awareness; body and age diversity and global sustainability.

There has been a great deal of recent interest in masculine clothing, examining both its production and consumption, and the ways in which it was used to create individual identities and to build businesses, from 1850 onwards. Drawing upon a wide range of sources this book studies the interaction between producers and consumers at a key period in the development of the ready-made clothing industry. It also shows that many innovations in advertising clothing, usually considered to have been developed in America, had earlier British precedents. To counter the lack of documentary evidence that has hitherto hampered research into the dress practices of non-elite groups, this book utilises thousands of unpublished visual documents. These include hundreds of manufacturers' designs, which underline an unexpected degree of investment by manufacturers in boys' clothing, and which was matched by heavy investment in advertising, with thousands of images of boys' clothing for shop catalogues in the Stationers' Hall copyright archive. Another key source is the archives of Dr Barnardo's Homes. This extraordinary collection contains over 15,000 documented photographs of boys entering between 1875 and 1900, allowing us to look beyond official polarization of 'raggedness' and 'respectability' used by charities and social reformers of all stripes and to establish the clothing that was actually worn by a large sample of boys. A close analysis of 1,800 images reveals that even when families were impoverished, they strove to present their boys in ways that reflected their position in the family group and in society. By drawing on these visual sources, and linking the design and retailing of boys' clothing with social, cultural and economic issues, this book shows that an understanding of the production and consumption of the boys clothing is central to debates on the growth of the consumer society, the development of mass-market fashion, and concepts of childhood and masculinity.

In her immensely readable and richly documented book, Christine Bayles Kortsch asks us to shift our understanding of late Victorian literary culture by examining its inextricable relationship with the material culture of dress and sewing. Even as the Education Acts of 1870, 1880, and 1891 extended the privilege of print literacy to greater numbers of the populace, stitching samplers continued to be a way of acculturating girls in both print literacy and what Kortsch terms "dress culture." Kortsch explores nineteenth-century women's education, sewing and needlework, mainstream fashion, alternative dress movements, working-class labor in the textile industry, and forms of social activism, showing how dual literacy in dress and print cultures linked women writers with their readers. Focusing on Victorian novels written between 1870 and 1900, Kortsch examines fiction by writers such as Olive Schreiner, Ella Hepworth Dixon, Margaret Oliphant, Sarah Grand, and Gertrude Dix, with attention to influential predecessors like Elizabeth Gaskell, Charlotte Bronte, and George Eliot. Periodicals, with their juxtaposition of journalism, fiction, and articles on dress and sewing are particularly fertile sites for exploring the close linkages between print and dress cultures. Informed by her examinations of costume collections in British and American museums, Kortsch's book broadens our view of New Woman fiction and its relationship both to dress culture and to contemporary women's fiction.

Rosy Aindow examines the way fiction registered and responded to the emergence of a modern fashion industry during the period 1870-1914. She traces the role played by dress in the formation of literary identities, with specific attention to the way that an engagement with fashionable clothing was understood to be a means of class emulation. The expansion of the fashion industry in the second half of the nineteenth century is generally considered to have had a significant impact on the way in which lower income groups, in particular, encountered clothing: many were able to participate in fashionable consumption for the first time. Remaining alert to the historical specificity of these events, this study argues that the cultural perception of the expansion of the industry - namely a predominantly bourgeois fear that it would result in a democratisation in dress - had a profound effect on the way in which fashion was approached by contemporary writers. Drawing on existing cultural analogies that associated fashion with women and artifice, it concludes that women were particularly implicated in fictional accounts of class mobility. This transgression applied not only to women who wore fashionable clothing, but to those working in the fashion industry itself. An allusion to fashion has a socio-specific meaning, one which gained a new potency in late nineteenth- and early twentieth-century narratives as a vehicle for the expression of class anxieties.

Challenging the notion that fashion and furniture were or are separate enterprises and distinct material aesthetic traditions, this collection focuses on three material and conceptual links central to understanding the relationship between interior design and fashion-the body, fabric, and space. The volume considers the changing visual, material and spatial character, methodological challenges posed by, and formal, political and historiographical significance of, a wide range of British, European and North American case studies since the eighteenth century. The volume's eleven case studies allow the reader to understand connecting notions behind the formation of interiors and fashionable clothing. The essays combine a wide range of significant and challenging new examples alongside powerful reversionary analyses of the various periods, artists, designers, and their best and significant objects. Fashion, Interior Design and the Contours of Modern Identity is concerned not only with fabric, but also with the body and the implications of embodiment in the practices of both design domains which are equally invested in the comfort, aesthetic pleasure, extension and support of the body in different and yet seemingly identical ways.

Throughout history, fashion has emerged as one of the most powerful driving forces determining the political, economic and social ramifications of the production, distribution and circulation of goods. Indeed fashion, especially in relation to clothing and textiles, shapes the relationship between self and society in unique ways. In this light, the collected papers in this volume position fashion as the lens - the critical mediating force - through which to analyse and understand cultural, economic and political shifts within a broad spectrum of societies in Europe, Asia, Africa and America from the seventeenth to twenty-first centuries. Topics include a seventeenth-century failing fashion region, the material politics of marketing American abolitionist fashions, the construction of a fashionable ethos for French perfumes, and the use and meanings of clothing and textiles in the politics of Nigerian silk robes and early modern domestic decor in Europe. This volume represents an important shift in scholarship towards a more in-depth understanding of the role of fashion in early modern and modern times and will appeal to international readers interested in material culture, fashion, consumer studies and cultural anthropology, among other areas.

Addressing the subject of clothing in relation to such fundamental issues as national identity, social distinction, gender, the body, religion and politics, Clothing Culture, 1350-1650 provides a springboard into one of the most fascinating yet least understood aspects of social and cultural history. Nowhere in medieval and early modern European society was its hierarchical and social divisions more obviously reflected than in the sphere of clothing. Indeed, one of the few constant themes of writers, chroniclers, diarists and commentators from Chaucer to Pepys was the subject of fashion and clothes. Whether it was lauding the magnificence of court, warning against the vanity of fashion, describing the latest modes, or decrying the habit of the lower orders to ape the dress of their social superiors, people throughout history have been fascinated by the symbolism, power and messages that clothes can project. Yet despite this contemporary interest, clothing as a subject of historical enquiry has been a largely neglected field of academic study. Whilst it has been discussed in relation to various disciplines, it has not in many cases found a place as a central topic of analysis in its own right. The essays presented in this volume form part of a growing recent trend to put fashion and clothing back into the centre ground of historical research. From Russia to Rome, Ireland to France, this volume contains a wealth of examples of the numerous ways clothing was shaped by, and helped to shape, medieval and early modern European society. Furthermore, it demonstrates how the study of clothing can illuminate other facets of life and why it deserves to be treated as a central, rather than peripheral, facet of European history.

'A photographic encyclopaedia of one of the 20th century's greatest creators' The Business of Fashion Founded by Yves Saint Laurent and Pierre Berge in 1961, shortly after the young couturier left his post at the helm of Christian Dior, Yves Saint Laurent would soon become one of the most successful and influential haute couture houses in Paris. Introducing Le Smoking, the first tuxedo suit for women, in 1966, Saint Laurent also presented iconic art-inspired creations, from Mondrian dresses to precious Van Gogh embroidery and the famous Ballets Russes collection. This definitive publication opens with a concise history of the house, followed by a brief biographical profile of Yves Saint Laurent, before exploring the collections themselves, organized chronologically. Each collection is introduced by a short text unveiling its influences and highlights, and illustrated with a gallery of carefully curated catwalk images. These showcase hundreds of spectacular clothes, details, accessories, beauty looks and set designs - and, of course, the top fashion models who wore them on the runway. A rich reference section concludes the book.

Discover fashion that dared to be different, risked reputations and put careers in jeopardy. This is what happens when people take tradition and rip it up. FashionQuake introduces 50 pivotal moments that shook the world and changed mainstream fashion forever, telling the fascinating stories behind each piece's creation, reception and legacy. From awe-inspiring couture to protest T-shirts, bumster trousers to safety-pin dresses, this book profiles the cutting-edge of fashion, featuring enigmatic designers, risque campaigns, surreal haute couture and radical clothing. By tracing the history of modern fashion via the pieces that steered away from the norm, Caroline Young tells us how we got to the here and now. This fascinating and deeply insightful book presents an alternative introduction to fashion focusing on 50 moments that consciously questioned boundaries, challenged the status quo and made shockwaves we are still feeling today. This book is from the Culture Quake series, which looks into iconic moments of culture which truly created paradigm shifts in their respective fields. Also available are ArtQuake, FilmQuake and MusicQuake.

Originally published in 1996, Stud: Architectures of Masculinity is an interdisciplinary exploration of the active role architecture plays in the construction of male identity. Architects, artists, and theorists investigate how sexuality is constituted through the organization of materials, objects, and human subjects in actual space. This collection of essays and visual projects critically analyzes the spaces that we habitually take for granted but that quietly participates in the manufacturing of "maleness." Employing a variety of critical perspectives (feminism, "queer theory," deconstruction, and psychoanalysis), Stud's contributors reveal how masculinity, always an unstable construct, is coded in our environment. Stud also addresses the relationship between architecture and gay male sexuality, illustrating the resourceful ways that gay men have appropriated and reordered everyday public domains, from streets to sex clubs, in the formation of gay social space.

An inspiration to countless designers and the stomping ground of fashion's in-crowd, London is the capital of subculture. From Mary Quant to Alexander McQueen, from punks to goths, and from Twiggy to Naomi Campbell, Little Book of London Style is the beautifully illustrated guide to the essential brands, trends and people that make up the style DNA of this unique city.

The clothes we wear tell stories about us and are often imbued with cultural meanings specific to our ethnic heritage. This concise A-to-Z encyclopedia explores 150 different and distinct items of ethnic dress, their history, and their cultural significance within the United States. The clothing artifacts documented here have been or are now regularly worn by Americans as everyday clothing, fashion, ethnic or religious identifiers, or style statements. They embody the cultural history of the United States and its peoples, from Native Americans, white Anglo colonists, and forcibly relocated black slaves to the influx of immigrants from around the world. Entries consider how dress items may serve as symbolic linkages to home country and family or worn as visible forms of opposition to dominant cultural norms. Taken together, they offer insight into the ethnic-based core ideologies, myths, and cultural codes that have played a role in the formation and continued story of the United States."

British Fashion Design is an insightful and informative investigation of the British fashion industry, focusing on the young designers whose work is rapturously received in the international market, but who often struggle at the brink of bankruptcy at home.
In analysing the economic, ideological and artistic working of this pre-eminent cultural industry, British Fashion Design draws on interviews with young fashion designers and with others working in the `fash biz' which surrounds and markets their products - stylists, fashion writers, magazine editors and retailers.

eBook available with sample pages: 0203168011

The powerful chronicle of the women who used their sewing skills to survive the Holocaust, stitching beautiful clothes at an extraordinary fashion workshop created within one of the most notorious WWII death camps.

At the height of the Holocaust twenty-five young inmates of the infamous Auschwitz-Birkenau concentration camp - mainly Jewish women and girls - were selected to design, cut, and sew beautiful fashions for elite Nazi women in a dedicated salon. It was work that they hoped would spare them from the gas chambers.

This fashion workshop - called the Upper Tailoring Studio - was established by Hedwig Höss, the camp commandant's wife, and patronized by the wives of SS guards and officers. Here, the dressmakers produced high-quality garments for SS social functions in Auschwitz, and for ladies from Nazi Berlin's upper crust.

Drawing on diverse sources - including interviews with the last surviving seamstress - The Dressmakers of Auschwitz follows the fates of these brave women. Their bonds of family and friendship not only helped them endure persecution but also played their part in camp resistance. Weaving the dressmakers' remarkable experiences within the context of Nazi policies for plunder and exploitation, historian Lucy Adlington exposes the greed, cruelty, and hypocrisy of the Third Reich and offers a fresh look at a little-known chapter of World War II and the Holocaust.

Whiz Limited is a Japanese streetwear brand established in 2000 by Hiroaki Shitano. With a following in Japan as well as Hong Kong and mainland China, Shitano has become something of a cult figure, as one of the new generation of streetwear designers influenced by Hiroshi Fujiwara. Consisting originally of handmade, printed tees, the label has since expanded to include a complete range of streetwear infused with an eccentric Japanese flair. Shitano was raised in the entertainment district of Shinjuku, and this is reflected in the clothing s distinctly downtown urban vibe and predominantly dark colour palette. Chronicling the history of the brand, alongside some of Whiz s most prolific projects to date, this book features beautiful, newly shot photographs of a long list of collaborations with streetwear icons, including Hiroshi Fujiwara/Fragment, Mastermind, Stussy, A Bathing Ape, Bristol, Bountyhunter, M&M, Kappa, New Era, Disney, Hello Kitty, G-Shock, Peanuts, Porter, The North Face, Marmot, First Down, and the estate of Keith Haring. This book also features an impressive archive of the brand s iconic sneaker designs, boasting collaborations with heavy hitters like mita sneakers, Adidas, New Balance, Asics, Puma, Reebok, Mizuno, Converse, and Ugg, making it a must-have for sneakerheads and lovers of streetwear style alike.

First published in 1981, In A Glamourous Fashion is not only a fascinating look at film fashion portraying the glamour and glitter of Hollywood's heyday; but is also an invaluable reference source for any student of the film, of costume, or of the social history. It documents some of the best work of the designers - names like Adrian, Cecil Beaton, Edith Head - but tells the often-dramatic story of their careers and their relationships with legendary stars such as Garbo, Dietrich, Monroe and many more. Here are the stories behind the screen's most famous costumes: Walter Plunkett's 'curtain dress' for Scarlett O'Hara; the red Jezebel gown Orry-Kelly designed for Bette Davis; the slinky back satin sheath Rita Hayworth wore in Gilda; and the extravagant gown - 15, 000 worth of mink - worn by Ginger Rogers in Lady in the Dark. The photographs and original sketches are an essential and decorative complement to the text; there is an index, bibliography, and a full list of Academy Award winners for costume design.

This book fills a significant gap in the literature on eighteenth-century social and cultural history. Starting with their production and trade, Sorge-English looks at the intricacies of the staymaker's craft, the role of gender in the design and manufacture of stays and the changing shape of stays over time.

This book seeks to establish the meaning of design research, its role in the field, and the characteristics that differentiate research in design from research in other fields. The author introduces a model to explain the relationship between the components of the ontological reality of design: the designed object, the designer, and the user. Addressing design research across disciplines, the author establishes a foundational understanding of research, and research paradigms, for the design disciplines. This will be crucial for the emerging field of design research to find its own identity and move forward, building its own knowledge base as it finds its positioning between science and art. The book will be of interest to scholars working in design history, design studies, graphic design, industrial design, interior design, architecture, fashion design, and service design.

Materials and Technology for Sportswear and Performance Apparel takes a close look at the design and development of functional apparel designed for high-performance sportswear. Implementing materials, performance, technology, and design and marketing, the book examines this rapidly emerging textile market and outlines future directions and growing trends. The book begins by explaining how a comfort-driven focus has led the industry to embrace knitted fabric as a popular choice of constructional material. Using examples of leading brands, it outlines the basic terminology, structural details, and essential properties appropriate for performance apparel, especially for sportswear. This book describes the differences between woven and knitted structures, provides an understanding of fabric behavior and the characteristics of a functional garment, and outlines the importance of garment fit and consumer perception of garment comfort in its design and development. The authors present key research outcomes on the design and development of functional apparel designed for high-performance sportswear that explore smart materials, impact-resistant fabrics and pressure sensing. They consider the use of 3-D body scanning and its influence on pattern engineering for apparel product development; highlight the widely used fiber types for sportswear and the importance of fiber blends and their performance, and discuss the relevance of fabric structure and its interaction with the human body. The book also presents research on moisture management and temperature regulation and analyzes the performance and development of smart sportswear intended for monitoring health and performance for a range of end uses. A definitive guide detailing the future of functional clothing and sportswear, this book: Describes how to design and develop functional clothing for sportswear Reflects current research outcomes and industry requirements Clarifies with visual illustration, practical examples, and case studies an understanding of techniques and concepts Explores specifics of garment design such as fit, shape, function, fashion and design Focuses on a commitment to designing ethical and sustainable products

A first-of-its-kind Japanese crochet stitch dictionary! For the first time in English, popular knitwear designer Yoko Hatta shows you creative ways to use a little leftover yarn and your own sense of design. You'll find round, square, triangle, polygon and Irish crochet motifs--from really simple to deliciously intricate--all waiting to be incorporated into your latest needlework projects. Make scarves and blankets using the all-time favorite granny squares, or shawls using polygons. Join circles (or throw in some squares) to make fun wall hangings, room dividers and more. Use beautiful Irish crochet motifs to embellish garments, form the outside of a bag, or make into a brooch. Find plenty of ideas for using color, from offbeat mono-and-duo-chromatic arrangements to splashy, multicolored pieces. Mastering even just a few of these motifs will open you to endless possibilities. Separate sections explain all the crochet symbols used and show you how to assemble the arrangements. Published in the same format as the bestselling Tuttle Publishing knitting dictionaries (Japanese Knitting Stitch Bible, 250 Japanese Knitting Stitches, Yoko Hatta's Japanese Knitting Stitches from Tokyo's Kazekobo Studio ), this book finally brings the same access and knowledge to crocheters.

A comprehensive sourcebook of over 500 patterns across six design styles, a must-have for anyone involved in textiles and the decorative arts. Delicate florals, bold stripes, geometric prints and sumptuous brocades - delve into the world of textile pattern design with this showcase of over 500 patterns. Close-up, highly detailed images of both designer creations and everyday items from the 1800s to the 1990s perfectly capture the intricacies of each fabric, while accompanying texts provide fascinating insights into the history and creative process of pattern design. This beautiful and accessible book is a valuable resource for anyone in search of visual inspiration. Table of Contents: Floral (abstract, all-over floral, ditsy, clusters, stripes, Jacobean, nouveau influence, poppies, rendered, roses, silhouette, single colour, stylized, varietal, Victorian spring, warp print) Geometric (black and white graphic, broken line, circle and square, circular, cubist, deconstructed, diamonds, geometric floral, grid, mid-century, ornamental stripe, radiating, whiplash line) Conversational (abstract, Americana, animals, automobiles, birds, cats and dogs, clowns, feathers, figural, folkloric, fruit, great pretenders, hearts, home sweet home, hunt, insects, lace/net, marbleized, mushrooms, objects, patriotic, tapestry, Western) Constructed Pattern (applied, beaded, braid, embroidery, pierced) Brocade (all-over floral, bold, cloque, metallic, mirror, mod, single colour, stripe, two colour, velvet) Paisley (all-over, brocade, shawl, stripe, mod)

Artificial intelligence (AI) now infiltrates our culture. After a couple of difficult winters, AI today is a word on everybody's lips, and it attracts everyone's attention regardless of whether they are experts or not. From Apple's Siri to Amazon's Alexa, Tesla's auto-driving cars to facial recognition systems in CCTV cameras, Netflix's film offering services to Google's search engine, we live in a world of AI goods. The advent of AI-powered technologies increasingly affects people's lives across the globe. As a tool for productivity and cost-efficiency, AI also shapes our economy and welfare. AI-generated designs and works are becoming more popular. Today, AI technologies can generate several intellectual creations. Fashion is one of the industries that AI can profoundly impact. AI tools and devices are currently being used in the fashion industry to create fashion models, fabric and jewellery designs, and clothing. When we talk about AI-generated designs, we instead focus on the fruits of innovation - more best-selling apparels, more fashionable designs and more fulfilment of customer expectations - without paying heed to who the designer is. Designers invest a lot of talent, time and finances into designing and creating each article of clothing and accessory before they release their work to the public. Pattern drafting is the first and most important step in dressmaking. Designers typically start with a general sketch on paper; add styles, elements and colours; revise and refine everything; and finally deliver their design to dressmakers. AI accelerates this time-consuming and labour-intensive process. Yet the full legal consequences of AI in fashion industry are often forgotten. An AI device's ability to generate fashion designs raises the question of who will own intellectual property rights over the fashion designs. Will it be the fashion designer who hires or contracts with the AI programmer? Will it be the programmer? Will it be the AI itself? Or will it be a joint work of humans and computers? And who will be liable for infringement deriving from use of third-party material in AI-generated fashion designs? This book explores answers to these questions within the framework of EU design and copyright laws. It also crafts a solution proposal based on a three-step test and model norms, which could be used to unleash the authors, rights holders and infringers around AI-generated fashion designs.