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Journal articles on the topic 'Fashion and visual art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Miller, Sanda. "Fashion as Art; is Fashion Art?" Fashion Theory 11, no. 1 (March 2007): 25–40. http://dx.doi.org/10.2752/136270407779934551.

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2

Beltrán-Rubio, Laura. "Reading Fashion in Art." Dress 47, no. 1 (January 2, 2021): 103–5. http://dx.doi.org/10.1080/03612112.2021.1872973.

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3

Durst, Elizabeth. "Russian Art Nouveau Fashion." Experiment 7, no. 1 (2001): 209–32. http://dx.doi.org/10.1163/2211730x-00701009.

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4

Genç, Çağlar, Oğuz Turan Buruk, Oğuzhan Özcan, Sejda Inal Yilmaz, and Kemal Can. "Forming Visual Expressions With Augmented Fashion." Visual Communication 16, no. 4 (September 26, 2017): 427–40. http://dx.doi.org/10.1177/1470357217714652.

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Wearable devices have a crucial impact on our bodies since they directly affect our appearance. However, wearable design practitioners focus more on the practical functionalities of the technology, leaving more investigation needed on what kind of visual expressions the technology might enable on wearable devices. With a critical approach on this functional perspective, the authors conducted a design workshop with fashion design and engineering students in which they first created art expressions and then wearable devices by using technological components. This practitioner’s essay reflects on

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5

Goodrum, Alison L. "Exhibition Review: Flaunt: Art/Fashion/Culture." Fashion Theory 9, no. 1 (March 2005): 89–94. http://dx.doi.org/10.2752/136270405778051482.

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6

Radford, Robert. "Dangerous Liaisons: Art, Fashion and Individualism." Fashion Theory 2, no. 2 (May 1998): 151–63. http://dx.doi.org/10.2752/136270498779571103.

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7

Duncan, Alexandra. "Digitization after a fashion: The art of compromise." Art Libraries Journal 42, no. 1 (December 15, 2016): 55–60. http://dx.doi.org/10.1017/alj.2016.47.

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A case study concerning the in-house digitization of a small collection of Central Saint Martins graduate fashion shows. The background of the collection is outlined (VHS and DVD recordings spanning from 1979 to present), as well as the workflow put in place to deal with the technical aspects of recording, cataloguing, processing and archiving an audio-visual collection with minimal budget and staffing.

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8

Szkoda, Ena. "Exhibition Review: Art/Fashion. Guggenheim Museum SoHo." Fashion Theory 1, no. 3 (August 1997): 321–27. http://dx.doi.org/10.2752/136270497779640107.

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9

Loreck, Hanne. "De/constructing Fashion/Fashions of Deconstruction: Cindy Sherman's Fashion Photographs." Fashion Theory 6, no. 3 (August 2002): 255–75. http://dx.doi.org/10.2752/136270402790577604.

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10

Kim, Dong Ok, and Jung Hwa Choi. "Analysis of Fashion Design Reflected Visual Properties of the Generative Art." Journal of the Korean Society of Clothing and Textiles 41, no. 05 (October 31, 2017): 825–39. http://dx.doi.org/10.5850/jksct.2017.41.5.825.

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11

Tarrant, Naomi E. A. "Aileen Ribeiro, Clothing Art: The Visual History of Fashion, 1600–1914." Costume 51, no. 2 (September 2017): 247–53. http://dx.doi.org/10.3366/cost.2017.0029.

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12

Rice, Robin, and Dilys E. Blum. "Shocking! The Art and Fashion of Elsa Schiaparelli." Woman's Art Journal 25, no. 1 (2004): 54. http://dx.doi.org/10.2307/3566504.

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13

Martin, Richard. "A Note: Art & Fashion, Viktor & Rolf." Fashion Theory 3, no. 1 (February 1999): 109–20. http://dx.doi.org/10.2752/136270499779165662.

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14

Lynge-Jorlén, Ane. "Between Frivolity and Art: Contemporary Niche Fashion Magazines." Fashion Theory 16, no. 1 (March 2012): 7–28. http://dx.doi.org/10.2752/175174112x13183318404104.

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15

Majer, Michele. "Color Moves: Art and Fashion by Sonia Delaunay." Design and Culture 5, no. 1 (March 2013): 119–23. http://dx.doi.org/10.2752/175470813x13491105785749.

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16

Oliver, Kathleen M. "Clothing Art: The Visual Culture of Fashion, 1600–1914 by Aileen Ribeiro." Early Modern Women 13, no. 1 (2018): 192–95. http://dx.doi.org/10.1353/emw.2018.0072.

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17

Chadwick, Whitney, and Nancy J. Troy. "Couture Culture: A Study in Modern Art and Fashion." Art Bulletin 86, no. 2 (June 2004): 384. http://dx.doi.org/10.2307/3177425.

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18

Agac, Saliha. "Installation Artist in the Fashion Industry: Yayoi Kusama." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 35–41. http://dx.doi.org/10.18844/prosoc.v4i11.2847.

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The history of fashion has shown that art and fashion are influenced by each other. Cooperation between the two disciplines is quite extensive. In this work, first, the installation artist Yayoi Kusama’s installations and the clothes that she prepared for these installations are examined. Then, the 2012 collection prepared with the cooperation of Yayoi Kusama-Louis Vuitton was examined and visual content analysis forms were created. As a result of the findings, a capsule collection was prepared in honour of Yayoi Kusama and photographed by establishing the figure–ground relationship as in the

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19

Lilley, Ed. "Art, Fashion, and the Nude: A Nineteenth-century Realignment." Fashion Theory 5, no. 1 (February 2001): 57–77. http://dx.doi.org/10.2752/136270401779045743.

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20

Laing, Morna. "Experimental Fashion: Performance Art, Carnival and the Grotesque Body." Fashion Theory 23, no. 1 (January 5, 2018): 125–29. http://dx.doi.org/10.1080/1362704x.2017.1414917.

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21

Houze, R. "Review: Reforming Women's Fashion, 1850-1920: Politics, Health, and Art." Journal of Design History 17, no. 3 (September 1, 2004): 305–7. http://dx.doi.org/10.1093/jdh/17.3.305.

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22

Freedman, Erin Alexa. "Fashion after Fashion." Fashion Theory 24, no. 1 (April 3, 2018): 113–20. http://dx.doi.org/10.1080/1362704x.2018.1454754.

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23

Diaby Savané, Mélissa. "The fantasy of ugliness in Alexander McQueen collections (1992-2009)." Revista 2i: Estudos de Identidade e Intermedialidade 3, no. 3 (June 20, 2021): 95–108. http://dx.doi.org/10.21814/2i.3157.

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Alexander McQueen (1969-2010) changed the fashion industry and history forever with his innovations and runaway shows that verged on performance art. His talent for tailoring matched the strong narrative and originality of his garments. Some of them were destined for commercial consumption and catered to the masses, but most of them were works of art grown from a vivid yet macabre imagination. He refused the common grounds of fashion to focus on themes usually ignored, such as fetishism, violence, death and mental disturbance. Therefore, he aimed to transcend the usual and reach for the sublim

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24

Thornquist, Clemens. "Basic Research in Art: Foundational Problems in Fashion Design Explored through the Art Itself." Fashion Practice 6, no. 1 (May 2014): 37–57. http://dx.doi.org/10.2752/175693814x13916967094795.

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25

Sigurjónsdóttir, Æsa. "The New Nordic Cool: Björk, Icelandic Fashion, and Art Today." Fashion Theory 15, no. 2 (June 2011): 239–58. http://dx.doi.org/10.2752/175174111x12954359478807.

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26

Tuite, Alexandra, and Kathleen Horton. "Crafting symbolic value: art, craft and independent fashion." Creative Industries Journal 12, no. 3 (June 5, 2019): 284–300. http://dx.doi.org/10.1080/17510694.2019.1621587.

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27

Kim, Kyulim, Eunju Ko, and Yang-Im Lee. "Art Infusion in Fashion Product: The influence of Visual Art on Product Evaluation and Purchase Intention of Consumers." Journal of Global Fashion Marketing 3, no. 4 (November 2012): 180–86. http://dx.doi.org/10.1080/20932685.2012.10600848.

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28

Browne, Pat. "Reforming Women's Fashion, 1850-1920: Politics, Health, and Art." Journal of American Culture 27, no. 1 (March 2004): 122–23. http://dx.doi.org/10.1111/j.1537-4726.2004.121_15.x.

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29

Bai, Yuli, Tsan-Ming Choi, Jeanne Tan, Raymond W. Au, and Yingchun Zang. "Searching for Authenticiy in Fashion Design and Art Collaboration (FDAC)." Leonardo 47, no. 2 (April 2014): 179–82. http://dx.doi.org/10.1162/leon_a_00738.

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This paper explores theoretical issues around authenticity in fashion design and art collaboration (FDAC). The aim is to understand the marketer's actual momentum and cultural properties of this phenomenon. Based on multiple case studies and interview surveys, this research identified that: FDAC is in widespread use as a way of above commerce; additionally, it bridges a gap between authenticity and fashion (especially youth fashion), while it represents the value of being free, true to the self and having passion for life. It is also heavily linked with creative youth culture and fashionisatio

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30

McDonald, Arthur W., and Edward Maeder. "An Elegant Art: Fashion and Fantasy in the Eighteenth Century." Theatre Journal 37, no. 1 (March 1985): 124. http://dx.doi.org/10.2307/3207201.

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31

Danylenko, Lesya. "Op-Art in the British Graphic Design of the 1960s–1970s. Fashion And Graphic Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 38–48. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235125.

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The article reveals the characteristic manifestations of the op-art style in British fashion on the examples of textile companies and individual designers, as well asin graphic design based on the analysis of printed products of British publications in the 1970s. It is claimed that the visual experiments of the op-art in the field of British fashion were most fully revealed in the activities of the textile companies "Heals", "Hull Traders" and "Edinburgh Weavers" and in the work of designer Mary Quant. And in graphic design — in the book covers of the popular science series "Pelican Books".

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32

Vranou, Sofia. "‘Pakis from Outer Space’: Oriental postmodernity in Leigh Bowery’s performative costuming." Studies in Costume & Performance 5, no. 1 (June 1, 2020): 73–84. http://dx.doi.org/10.1386/scp_00014_1.

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With his extraordinary self-styled personas, the late London-based costume designer, nightclub extravaganza and subcultural icon Leigh Bowery constantly unsettled clear divisions between fashion, performance and visual art. His performative costuming reflects in a prolific manner his hybrid aesthetic and his ability to fuse a wide range of visual elements stemming from high fashion, art, mainstream culture and underground practices that en masse render his bizarre presence highly enigmatic. Inspired primarily by the aesthetics and the representations of South Asian culture, and noticeably devi

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33

Ren, Ruijuan, and Jiangbo Liao. "Processing Objets Trouves: A Review of Appling Collage Thinking and Techniques in Fashion." Asian Culture and History 8, no. 2 (August 31, 2016): 160. http://dx.doi.org/10.5539/ach.v8n2p160.

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<p class="1Body">Collage is generally applied to synthesise the fragments of forms in visual art to create a new effect. This review discusses the application of collage in fashion with its characteristics and influences developing process as a cut-in point; while in terms of methodology, it analyses and generalises the performance of collage aesthetics and collage form in modern fashion details. The research of collaging application plays an oriented role to process design found objects creatively, thus providing rich design languages and methods in today’s fashion field.</p>

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34

Androsova, A. A. "TRENDANALYTICS: INFLUENCE OF POLITICAL IMAGE MARGARET THATCHER ON THE NEWEST FASHION OF THE 2020S." EurasianUnionScientists 10, no. 5(74) (June 14, 2020): 41–53. http://dx.doi.org/10.31618/esu.2413-9335.2020.10.74.797.

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2020 was the year of the return to the catwalks of the legendary image of Margaret Thatcher, who had a global impact on all world politics. Designers and artists, representatives of generations X and Y, whose maturation period fell during the reign of Margaret Thatcher (1979-1990), were so strongly influenced by her image that 30 years after the departure of the "iron lady" from big politics, they return to re-evaluate her influence on the creation of an artistic image in fashion. The image of Margaret Thatcher occupies one of the leading places in the female political image, which speaks sile

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35

Arnold, C. "Review: Fashion." Journal of Design History 18, no. 1 (January 1, 2005): 128–31. http://dx.doi.org/10.1093/jdh/epi009.

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36

Braun, Emily. "Futurist Fashion." Art Journal 54, no. 1 (March 1995): 34–41. http://dx.doi.org/10.1080/00043249.1995.10791674.

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37

Mirza, Romana. "Contemporizing Modesty." Fashion Studies 1, no. 2 (2019): 1–17. http://dx.doi.org/10.38055/fs010204.

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Contemporary Muslim Fashions, September 22, 2018 – January 6, 2019 was organized by the Fine Arts Museums of San Francisco, shown in the de Young Museum and curated by Jill D’Alessandro and Laura Camerlengo, both curators at the museum, and consulting curator Reina Lewis, a scholar at the London College of Fashion, University of the Arts London. The aim was to represent contemporary Muslim fashions. To this end, they assembled and exhibited a collection of garments from the most popular fashion designers of the day, chosen from a series of shows at modest fashion weeks around the world. Supple

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38

Martinez, J. G. "The Men's Fashion Reader * The Men's Fashion Reader." Journal of Design History 22, no. 4 (October 23, 2009): 423–26. http://dx.doi.org/10.1093/jdh/epp037.

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39

Струмінська, Т. В., О. Ю. Михайлюк, О. С. Слітюк, Г. В. Омельченко та Т. Ю. Дегтяр. "ПРИНТИ У СТИЛІ ПОП-АРТ ЯК ТВОРЧЕ ДЖЕРЕЛО ДЛЯ ПРОЕКТУВАННЯ СУЧАСНИХ КОЛЕКЦІЙ ОДЯГУ". Art and Design, № 2 (21 вересня 2020): 104–13. http://dx.doi.org/10.30857/2617-0272.2020.2.9.

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The purpose of the work is to determine the main art and compositional solutions of pop art prints of prints for further design of author's prints and the development of creative collections of modern women's clothing. To achieve this goal, special features, art and figurative features of pop art style prints were structured, a visual analytical and comparative analytical analysis of the collections of women's and men's clothing in the style of pop art for the spring-summer 2019 and 2020 seasons was carried out. Highlighted the characteristic compositional solutions of modern prints in the sty

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40

Frfulanović-Šomođi, Dragana, Milena Savić, and Predrag Đorđević. "Pirot kilim as a visual symbol in the modern fashion design." Pirotski zbornik, no. 45 (2020): 45–64. http://dx.doi.org/10.5937/pirotzbor2045045f.

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The work was created with the aim to research the value and presence of Pirot kilim, more precisely its patterns as fundamental visual presenters of this product traditionally originating from Pirot in the field of contemporary fashion design. As a brand which with its quality crossed the local borders, potentials of Pirot kilim seem to be limitless but also not sufficiently used in the modern fashion design. In this context, the research of this resource was emphasized first on the local level especially in the field of applied art and more precisely in fashion as one of the most productive i

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41

Gilligan, Sarah. "Fashion, Costume and Visual Cultures (FCVC) Network." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 21–25. http://dx.doi.org/10.1386/csmf_00015_2.

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42

Klemm, Peri M. "Oromo Fashion: Three Contemporary Body Art Practices among Afran Qallo Women." African Arts 42, no. 1 (March 2009): 54–63. http://dx.doi.org/10.1162/afar.2009.42.1.54.

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43

Luttrell, Wendy, and Emily Clark. "Replaying Our Process: Video/Art Making and Research." Qualitative Inquiry 24, no. 10 (September 20, 2018): 775–85. http://dx.doi.org/10.1177/1077800418800106.

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This article charts a collaborative and multimodal inquiry practice between a professor and a doctoral student who met during a visual methods course, Doing Visual Research With Children and Youth. Our collaboration focused on blurring the border between art making and research as a means to analyze and re-represent photographs taken by children. In stepping outside our comfort zones as researchers, we shared the same preoccupation: How much creative/artistic license would we exert regarding our use of the children’s photographs? This article explores the making of a video montage in ways that

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44

Entwistle, Joanne. "The Fashioned Body15 Years On: Contemporary Fashion Thinking." Fashion Practice 8, no. 1 (January 2, 2016): 15–21. http://dx.doi.org/10.1080/17569370.2016.1147693.

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45

Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptua

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46

Cınar, Pınar. "Art as a Source of Inspiration in Fashion Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 53–61. http://dx.doi.org/10.18844/prosoc.v4i11.2849.

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Inspiration has an important place in the fashion design process. In a fashionable way, the qualities that the designer is influenced by is the research result for his inspiration. The design elements and principles help in interpretation of the design to convey the design details in the mind of the designer onto paper or fabric. In this work, a collection of inspirational ‘art’ was examined to determine how artwork is reflected in the design elements. Ten fashion design students created a collection of five pieces, based on an artwork. Dress designs were investigated with descriptive analysis

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47

Slater, Don. "In the Culture Society: Art, Fashion and Popular Music, by A. McRobbie." Fashion Theory 4, no. 2 (May 2000): 201–3. http://dx.doi.org/10.2752/136270400779108825.

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48

Marcus, Jaclyn. "Review: Diversity NOW! Fashion & Race with Kimberly Jenkins." Fashion Studies 1, no. 2 (2019): 1–9. http://dx.doi.org/10.38055/fs010203.

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The following article is a review of the 2018 Diversity Now! Lecture, entitled “Unleash the Power of Fashion to Challenge Racism,” led by Kimberly Jenkins and held by Ryerson University’s Centre for Fashion Diversity and Social Change. Jenkins is a lecturer at Parsons University, where she first created and continues to teach her undergraduate course “Fashion and Race,” is a Visiting Assistant Professor at Pratt Institute, and a curator, anthropologist, and art historian. Jenkins is also the creator of the online digital humanities project entitled The Fashion and Race Database as well as co-c

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49

Kley, Elisabeth. "Fashionable Fashion." PAJ: A Journal of Performance and Art 20, no. 3 (September 1998): 26. http://dx.doi.org/10.2307/3245946.

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50

Pichou, Myrsini. "The ATOPOS cvc RIPPING Project: A ‘New’ Life for Dress Objects?" Costume 54, no. 2 (September 2020): 242–64. http://dx.doi.org/10.3366/cost.2020.0166.

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This article will examine the RIPPING ATOPOS project initiated by the Athens-based ATOPOS Contemporary Visual Culture Organization (ATOPOS). In this project, contemporary artists and fashion designers are commissioned to create their own works of art or garments, either inspired by specific pieces or by using duplicates of the 1960s paper dresses from the ATOPOS collection. The article describes results of the collaborations with the different artists and fashion designers. The project has enabled ATOPOS to investigate new ways of handling, managing and displaying its collection.

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