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Journal articles on the topic 'Fashion – History'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Price, Sally. "Maroon Fashion History." New West Indian Guide / Nieuwe West-Indische Gids 94, no. 1-2 (June 3, 2020): 1–38. http://dx.doi.org/10.1163/22134360-09401050.

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Abstract Fashion has long been a dynamic aspect of Maroon culture in Suriname and French Guiana (Guyane). The textile arts that carry it through from one generation to the next were totally ignored by early writers, who lavished praise on the men’s art of woodcarving but said virtually nothing about the artistic gifts of women—most importantly in calabash carving (referred to by one of them as “doodling”) and clothing. This article, based on more than fifty years of ethnographic work with Maroons, focuses on textile arts and clothing fashions, running briefly through styles of the past before focusing on current directions. Today, with Maroons participating increasingly in life beyond the traditional villages of the rain forest, the women—like their mothers and grandmothers—have continued to enjoy adopting newly available materials and inventing novel techniques. In the process, they have been producing clothing that reflects both their cultural heritage of innovative artistry and their new place in the multicultural, commoditized society of the coast. The illustrations give an opening hint of the remarkable vibrancy of this aspect of Maroon life in the twenty-first century.

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2

Attfield, Judith. "Is Fashion History?" Textile History 35, no. 2 (November 2004): 212–16. http://dx.doi.org/10.1179/004049604225015756.

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3

Polese, Francesca, and Regina Lee Blaszczyk. "Fashion forward: The business history of fashion." Business History 54, no. 1 (February 2012): 6–9. http://dx.doi.org/10.1080/00076791.2011.617206.

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4

Yuksel, Sukriye. "An Outlook of the Fashion Industry Through Fashion History." Procedia - Social and Behavioral Sciences 51 (2012): 1016–21. http://dx.doi.org/10.1016/j.sbspro.2012.08.280.

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5

Rubinstein, Ruth P., and Valerie Steele. "Paris Fashion: A Cultural History." Woman's Art Journal 11, no. 1 (1990): 49. http://dx.doi.org/10.2307/1358390.

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6

Martin, Linda, and Elizabeth Ewing. "History of Twentieth-Century Fashion." Journal of Interdisciplinary History 19, no. 2 (1988): 369. http://dx.doi.org/10.2307/204712.

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7

Flamiano, Dolores. "The History of Fashion Journalism." American Journalism 34, no. 3 (July 3, 2017): 373–74. http://dx.doi.org/10.1080/08821127.2017.1344071.

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8

Matthews, Rachel. "Redrawing the Timeline: Teaching the History of Fashion in the Networked Conditions of the Twenty-First Century." Arts 8, no. 1 (February 20, 2019): 24. http://dx.doi.org/10.3390/arts8010024.

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It is important for the history of fashion curriculum, to acknowledge the post-digital environment within which fashion and education now operate. One way to address this, is to move concepts of change in fashion beyond the singular narrative of fashion’s evolution that is visualised in the fashion timeline. This paper describes an approach to developing historical consciousness in fashion students who are native to the networked conditions of the twenty-first century. These students need frameworks capable of analysing the increasingly decentralised drivers of change in fashion, as well as developments in the fashion system that do not show themselves in garment styles and silhouettes. The study describes how visual metaphors have been used in the study of the history of fashion, to encourage students to view the changing characteristics of fashion from a range of viewpoints. It is an approach designed to open alternative discourses on change, as an inherent feature of fashion. Using these alternative perspectives, it becomes possible for today’s students to engage with the history of fashion in a more critical and reflexive manner, and better understand the interconnected and contingent nature of change in fashion, both, in the past and in the current context.

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9

Garrity, Jane, and Celia Marshik. "Fashion’s Borders." English Language Notes 60, no. 2 (October 1, 2022): 1–20. http://dx.doi.org/10.1215/00138282-9890736.

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Abstract The introduction traces the long history of fashion’s movement across cultural, national, and political borders. After brief case studies of early twentieth-century French and Spanish styles imagining fashion as an engine of transnational amity, the introduction highlights how fashion navigates some of the most troubled borders of recent years, including the conflict between Russia and Ukraine and racial violence. Fashion forces viewers and consumers to choose sides, whether through national identification or through recognition of the long history of black and brown bodies producing fashionable objects. To advance the global history of fashion, the introduction briefly discusses the work of designers Rawan Maki (Bahrain), Laurence Leenaert (Belgium), and Kim Jones (Great Britain), examining how each upends gender, race, class, or fashion binaries, and analyzes how LVMH and Uniqlo, brands at opposite ends of the contemporary style spectrum, underline the very different ways in which fashion traverses the globe in the twenty-first century. The introduction concludes with the hope that this issue will raise questions about fashion’s articulation of the relation among the local, the national, and the global, as well as about the human experience of interacting with the fashion industry in one national context while living in a globalized world.

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10

Peirson-Smith, Anne, and Ben Peirson-Smith. "Fashion archive fervour: the critical role of fashion archives in preserving, curating, and narrating fashion." Archives and Records 41, no. 3 (September 1, 2020): 274–98. http://dx.doi.org/10.1080/23257962.2020.1813556.

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11

Riello, Giorgio. "The object of fashion: methodological approaches to the history of fashion." Journal of Aesthetics & Culture 3, no. 1 (January 2011): 8865. http://dx.doi.org/10.3402/jac.v3i0.8865.

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12

Geraffo, Monica. "The house of Van Dyne: Defining Marvel’s superhero fashion designer." Film, Fashion & Consumption 9, no. 2 (October 1, 2020): 201–23. http://dx.doi.org/10.1386/ffc_00020_1.

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Marvel Comics superhero and founding member of The Avengers Janet Van Dyne, the Wasp, has been portrayed as an in-canon fashion designer not just of superhero costumes but also of civilian clothing. Through her continuous usage as a narrative device that functions as an authority on style and taste, the proliferous designs depicted as created by Van Dyne over her almost sixty-year history have expanded to be worn by so many heroes across the Marvel Universe that they subconsciously define our overall conceptions of superhero fashion. This article evaluates Van Dyne’s fictional fashion designs from the perspective of real-world fashion criticism in order to define Van Dyne’s design aesthetic. Through comparisons with key designers and movements within the fashion industry, this article asserts that the history of luxury fashion is the best model for placing Van Dyne designs into context and that the long-standing visual representations of Van Dyne fashions offer a unique case study to explore the narrative implications of luxury fashion within comics. This focus on fashion designs rather than iconographic superhero costumes creates new opportunities to emphasize discussions of the integrality of clothing to conceptions of superhero characterization and identity.

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13

Wilson, Elizabeth. "Understanding Fashion History by Valerie Cumming." Fashion Theory 10, no. 3 (September 2006): 409–12. http://dx.doi.org/10.2752/136270406778050851.

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14

Jennings, Helen. "A Brief History of African Fashion." Nka Journal of Contemporary African Art 2015, no. 37 (November 2015): 44–53. http://dx.doi.org/10.1215/10757163-3339860.

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15

Taylor, Madeline, Kiara Bulley, and Anna Hickey. "Manifesto of dress: Political intersections in fashion lecture-performances." Clothing Cultures 6, no. 2 (June 1, 2019): 265–80. http://dx.doi.org/10.1386/cc_00016_1.

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This article argues for the consideration of the lecture-performance as a genre that offers rich possibilities for critical fashion discourse, one that is uniquely suited to the material, embodied nature of clothing.The article recounts a lecture-performance by Australian-based design group The Stitchery Collective, which explored moments in history that demonstrate fashion’s capacity to resist, rebel and turn the political into the fabulous. From Amelia Bloomer’s bloomers to the sans-culottes of revolutionary France, fashion has acted as a tool and medium for great social protest and momentum for change. In contemporary fashion, local designers in Australia embed counter-fashion ideology into their business practices to offer a counteraction to the more negative effects of capital-F Fashion. The lecture-performance aimed to reframe personal consumption choices in the now, via the political fashion of the past, as politically motivated and most of all, capable of contributing to real change. The Stitchery proposed that in fashion, the personal is political and the political is personal, both throughout history and in the present day. The creative work combined public lecture, historical dress up, contemporary fashion showcase and call to action in an engaging lecture-performance format.

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16

Craik, Jennifer. "The political culture of non-western fashion identities1." Fashion, Style & Popular Culture 7, no. 1 (January 1, 2020): 9–27. http://dx.doi.org/10.1386/fspc_00003_1.

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Abstract The topic of non-western (or ethnic, exotic, world or fusion) fashion has been gaining traction as a legitimate field of scholarship in recent years. This rich vein of research and practice requires more attention to developing new approaches to analytic frameworks in which to evaluate the state of fashion in non-western contexts and to discuss more seamlessly the convergence and dialectical appropriation of non-western inspirations in western fashion and western inspirations in forging and negotiating non-western fashion identities. One indication of the inadequacies of current analytic frameworks used to understand non-western fashion is the use of oppositions and polarities such as colonial/postcolonial, exotic/indigenous and local/global. This article argues that non-western fashion can only be adequately unpacked and understood if the embedded politics of the cultures in which non-western emanates are recognized, drawing on the history of fashions in China and references to Chinoiserie in Eurocentric fashion.

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17

Vec, Miloš. "Fashion Victims Everywhere?" Rechtsgeschichte - Legal History 2021, no. 29 (2021): 340–42. http://dx.doi.org/10.12946/rg29/340-342.

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18

Platonova, E. S. "MODERNITY, TEMPORALITY AND SOVIET FASHION IN LENINGRAD DURING THE 1950S AND THE 1960S." Вестник Пермского университета. История, no. 3 (62) (2023): 174–85. http://dx.doi.org/10.17072/2219-3111-2023-3-174-185.

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The article examines the process of clothing design at the Soviet official fashion institution, the Leningrad Fashion House, in the late 1950s and early 1960s. Based on the archival materials and visual sources, the research aims at exploring Soviet fashion as a manifestation of modernity. One of the key ideological and political agendas of the state leaders of that period was the aim to overcome backwardness. However, compared to Western fashion design, Soviet clothing always looked “frozen in time”. The article investigates the specifics of temporality of Soviet fashion. The analysis of unique sources exhibits that Soviet fashion had several temporal orders. The first temporal order was formed due to the different speeds of design and production. Class, social and cultural inequalities influenced the formation of various fashions in the Soviet Union, which could retard from each other. Soviet designers did not set themselves the goal of creating a completely alternative variant of modern fashion. Understanding of modernity was shaped by the transnational entanglements of ideas and practices, as Western fashion remained the major reference point for what it meant to be modern. The key theoretical result of the article is that, being in different temporalities, Soviet fashion indicated different dimensions of modernity.

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19

Bass-Krueger, Maude. "Paris, Capital of Fashion." French History 35, no. 1 (March 1, 2021): 136–37. http://dx.doi.org/10.1093/fh/crab012.

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20

Hamerton, Katharine J. "Fashion on the Brain." French Historical Studies 45, no. 3 (August 1, 2022): 415–49. http://dx.doi.org/10.1215/00161071-9746587.

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Abstract This article explores Nicolas Malebranche's approach to fashion: an inescapable postlapsarian consequence of God's sociable design of the human mind and body as manifested in the imagination. A problematic side effect of the general laws established by God governing the soul-body relationship, fashion wreaked havoc on individuals' thinking and potential for redemption yet pointed to a larger providential plan for social benefit. These ideas led Malebranche to a distinctive nonpolitical approach to fashion—both “Enlightenment project” and theodicy—in which he sought to promote, toward human liberation and salvation, an enlightened understanding of the processes that created fashion and a charitable approach to managing it. Ultimately, however, his brain-based analysis ended up limiting individual freedoms (imaginative, cognitive, and behavioral), notably for those endowed with certain kinds of minds, in ways that had long-lasting effect. It also helped lay foundations for the Enlightenment's conflicted views about fashion as individual folly and beneficial social phenomenon. Cet article montre que, pour Nicolas Malebranche, la mode constitua une conséquence inévitable de la Chute et du dessin sociable et providentiel de l'esprit et du corps, manifesté dans l'imagination. Effet secondaire et problématique des lois générales établies par Dieu pour gouverner les relations entre l'esprit et le corps, la mode entrave la réflexion et l'accès au salut tout en dessinant un plan providentiel, au bénéfice de tous. A la fois projet des Lumières et théodicée, cette approche apolitique s'efforce, dans une visée mêlant libération, salut et charité, de saisir les processus qui créent la mode afin de s'en accommoder. Parce qu'elle met l'accent sur le cerveau, cette approche tend pourtant à restreindre, de manière durable, les libertés individuelles (imagination, cognition, comportement), surtout pour certains types d'esprit. Et elle montre comment, pour les Lumières, la mode peut être à la fois une folie individuelle et un phénomène à multiples vertus sociales.

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21

Weber, E. "Fashion Under the Occupation." English Historical Review 118, no. 477 (June 1, 2003): 841–42. http://dx.doi.org/10.1093/ehr/118.477.841.

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22

Heller, Sarah-Grace. "Mocking Medieval French Fashion." French Historical Studies 43, no. 2 (April 1, 2020): 145–66. http://dx.doi.org/10.1215/00161071-8018441.

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Abstract A debate poem (partimen PC 16,17) from the early thirteenth century richly demonstrates attitudes toward medieval French fashion, debating who was better, the “French” of France and England for their sumptuous apparel and generous feasts or the “Catalan” Occitan speakers for whom acquisition meant jovial pillage. Fashion appears as a preoccupation of the north, in contrast with southern poverty. Examined in context with political sirventes poems celebrating plunder, the Chanson de la croisade albigeoise (ca. 1210–12), which expresses pathos through clothing tropes, and the hyperbolic fair in Flamenca (ca. 1223), this study places these representations in the context of the military culture of Languedoc and Provence and its developing markets. This troubadour mockery of pretentious French display also expresses implicit envy and criticizes the damage the pillage ideal imposed on the fashion economy of the Midi. Un partimen (PC 16,17) du début du treizième siècle présente un aperçu très riche des attitudes à l'égard de la mode française médiévale, en mettant en débat la question suivante: qui étaient les meilleurs, les « Français » de France et d'Angleterre avec leurs somptueux habits et leurs fêtes généreuses, ou bien les « Catalans » (à savoir les Occitans situés de chaque côté des Pyrénées), qui acquéraient des objets en pillant plutôt qu'en les achetant ? A cette époque, la mode apparaît davantage comme une préoccupation en région septentrionale qu'en région méridionale, plus pauvre. En comparant des sirventes politiques célébrant le pillage et le pathos vestimentaire dans la Chanson de la croisade albigeoise (c. 1210–12) et la foire hyperbolique dans Flamenca (c. 1223), cette étude situe ces représentations dans le contexte des guerres et des industries textiles naissantes en Languedoc et en Provence. Le rire troubadour vis-à-vis de l'ostentation française trahit la convoitise des Occitans à l'égard des Français tout en critiquant aussi les dommages occasionnés par l'idéal de pillage sur l'économie de la mode dans le Midi.

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23

Utami, Laela Puji. "Factors of Muslim Fashion Progress in Surakarta City: A History Review." Islah: Journal of Islamic Literature and History 2, no. 2 (December 1, 2021): 103–21. http://dx.doi.org/10.18326/islah.v2i2.103-121.

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Nowadays, Muslim fashion is worn not only to fulfil Islamic sharia, but also to present Muslim fashion without ignoring the beauty of the fashion itself. Therefore, in its progress, Muslim fashion comes with varied, trendy and fashionable items. Examining Muslim fashion progress in Surakarta City, the researcher tries to find out the background of Muslim fashion widely known of Muslim in Surakarta City and factors causing the rapid progress of Muslim fashion in Surakarta City. This study uses historical method by using procedures in accordance with the rules and the regulations of historical writing. The findings shows that Muslim fashion in Surakarta City is influenced by some factors including: (1) the occurrence of Islamization during The New Order era in Surakarta City; (2) the entry of Ikhwanul Muslimin Thought and the occurrence of Iranian Revolution; (3) the variation of Islamic colours in Surakarta city including traditionalist, puritans, modernist, and radical; (4) the high number of middle class Muslims with a consumptive lifestyle; (5) the history of Surakarta City as the birthplace of Serikat Dagang Islam (SDI) and batik textile producer in Indonesia; (6) the existence of shopping centres, fashion houses, boutiques, and Muslim fashion shops; (7) the existence of Solo Hijabs Community in introducing and promoting Muslim fashion; and (8) the role of Ikatan Perancang Busana Surakarta (IKAPERSTA), a fashion designers association in Surakarta city, representing activities related to fashion in Surakarta City

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24

Armstrong, Leah. "“Fashions of the Future”: Fashion, Gender, and the Professionalization of Industrial Design." Design Issues 37, no. 3 (2021): 5–17. http://dx.doi.org/10.1162/desi_a_00644.

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Abstract In 1939, U.S. Vogue magazine dedicated its February issue to the promotion of the New York World's Fair, which would open in April 1939, giving significant editorial space to the subject of industrial design for the first time. The issue's leading fashion editorial feature, “Fashions of the Future,” invited nine industrial designers to dress the “woman of tomorrow.” The feature served as a promotional vehicle for the World's Fair and for the industrial designers who worked on it. Through a close examination of the issue's visual and textual content, this article explores the relationship between industrial design, fashion, consumption, and gender at a formative moment in the professionalization of design in the United States at the outbreak of the Second World War. It argues that fashion media served a discursive function in the elevation of the industrial designer's professional status, presenting a case for further consideration of the relationship between fashion and industrial design in the history of the design profession.

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Hancock, II, Joseph H., Veronica Manlow, Gjoko Muratovski, and Anne Peirson-Smith. "Global fashion brands: Style, luxury and history." Global Fashion Brands: Style, Luxury & History 1, no. 1 (March 1, 2014): 11–16. http://dx.doi.org/10.1386/gfb.1.1.xi_7.

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26

Kerr, Virginia. "A HISTORY OF MEN'S FASHION. Farid Chenoune." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 1 (April 1994): 38–39. http://dx.doi.org/10.1086/adx.13.1.27948622.

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27

Cole, Shaun. "Fashion Writing and Criticism: History, Theory, Practice." Costume 50, no. 1 (January 1, 2016): 146–47. http://dx.doi.org/10.1080/05908876.2016.1134896.

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28

Findlay, Jim. "PARIS FASHION: A CULTURAL HISTORY. Valerie Steele." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 1 (April 1989): 44. http://dx.doi.org/10.1086/adx.8.1.27948025.

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29

Edwards, Louise. ":Changing Clothes in China: Fashion, History, Nation." American Historical Review 114, no. 3 (June 2009): 736–37. http://dx.doi.org/10.1086/ahr.114.3.736.

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30

Johnson, Sarah. "The Business of Fashion: A Social History." American Quarterly 54, no. 3 (2002): 467–83. http://dx.doi.org/10.1353/aq.2002.0025.

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31

Lee, Young Min, and Jae Oak Park. "Modern sports-inspired fashion through active sportswear development history." Research Journal of the Costume Culture 20, no. 5 (October 31, 2012): 635–54. http://dx.doi.org/10.7741/rjcc.2012.20.5.635.

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32

McDowell, Felice. "Fashioning a Life: Exploring How Fashion Literature Fashions the Self." a/b: Auto/Biography Studies 32, no. 2 (April 25, 2017): 414–16. http://dx.doi.org/10.1080/08989575.2017.1289317.

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Melchior, Marie Riegels, and Maria Mackinney. "Arctic fashion." Critical Studies in Fashion & Beauty 14, no. 2 (December 1, 2023): 141–54. http://dx.doi.org/10.1386/csfb_00061_2.

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The Arctic region is facing cultural, environmental and political transformation. These transformations raise urgent issues of independence, identity and climate crisis. Fashion provides a unique entry point to further understand the complexity of living in the remote regions of the Arctic, while being globally connected in a digital era. Reconciling with history, adapting to modernity, decolonization and governances present key themes, some of which will be addressed in this Special Issue. Fashion is understood here as a cultural, material and economic phenomenon in the form of dress and body adornment. More than ever, fashion is distributed and consumed on a global scale across even remote regions and extreme climates. This Special Issue brings together scholars from the region to share their research on fashion in the Arctic. The aim is to invite further studies of the practice and interpretation of fashion that reflect the immense diversity of the regions in terms of historical, cultural, ethnic and geographical realities and narratives.

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34

Malagon-Mancebo, Massiel. "THE INFLUENCE OF CARIBBEAN COLONIES ON EUROPEAN WOMENS FASHION AT THE END OF THE XVIII CENTURY AND BEGINNINGS OF XIX." Temas Americanistas, no. 51 (2023): 393–432. http://dx.doi.org/10.12795/temas-americanistas.2023.i51.17.

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Neoclassical fashion defined its diaphanous look by seeking to revive the style of the ancient Roman civilization, and the marble statues of ancient Greece; further influenced by the excavation of Pompeii in 1738 and its archeological developments in 1748. The attitudes towards voluminous and pompous fashions had changed, however the acceptance of the new modern and much more revealing silhouette did not occur without challenges. For neoclassical fashion to be accepted it needed a foundation to make it plausible, and it needed a pioneer to wear and deem it ‘appropriate’. This study builds a comprehensive analysis of some of the relationships France, England and other European countries built with their colonies in terms of textile manufacturing, imports and exports, and most importantly cultural appropriation. This study seeks to analyze how those colonies gave them new fashion perspectives, to develop the neoclassical fashions, we recognize from that period. In addition, this study will analyze the powerful influence of Josephine Bonaparte and other important female figures from neoclassical France, in perpetuating and expanding the use of these fabrics and styles; most importantly Josephine’s Caribbean background and her possible preference for lighter fabrics due to her birth on the island of Martinique, and how that influenced her sophisticated and cosmopolitan approach to fashion.

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Castaldo Lundén, Elizabeth. "Exploring Fashion as Communication: The Search for a new fashion history against the grain." Popular Communication 18, no. 4 (October 1, 2020): 249–58. http://dx.doi.org/10.1080/15405702.2020.1854952.

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Labrum, Bronwyn. "Expanding fashion exhibition history and theory: Fashion at New Zealand’s national museum since 1950." International Journal of Fashion Studies 1, no. 1 (April 1, 2014): 97–117. http://dx.doi.org/10.1386/infs.1.1.97_1.

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Peters, Lauren Downing. "A history of fashion without fashion: Recovering the stout body in the digital archive." Critical Studies in Fashion & Beauty 10, no. 1 (June 1, 2019): 91–112. http://dx.doi.org/10.1386/csfb.10.1.91_1.

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Fang, Ge, Yuxin Fu, and Linqi Peng. "Wabi-sabi Style: the Collision of the East and West, the Combination of the Fashion and the Nature." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 2499–505. http://dx.doi.org/10.54097/ehss.v8i.5019.

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In the past fifty years, Japanese fashion as one of the most prosperous Asian fashions has become a legend in the world fashion field through its special oriental design that breaks the fashion aesthetics with the West as the mainstream in the past. In recent years, wabi-sabi style has become a new fashion trend. As sustainable fashion is advocated by more and more people, the ecological concept wabi-sabi aesthetic holds also accords with the eco-fashion tendency. This paper aims to study the wabi-sabi style in the fashion field, which includes its power to collide with the fashion world dominated by the West, and its ecological function. First of all, this paper compares the aesthetic, religious, and women's fashion history of the wabi-sabi style and the western style. Then, it investigates the fashion collision between the East and the West in terms of design concepts and analyzes the inspiration for the wabi-sabi fashion style. What is more, this paper also integrates the wabi-sabi style and eco-fashion to analyze its positive impact on the environment. Ultimately, this study suggests that although the wabi-sabi style has a minimal influence in the fashion field, it will have a promising future for its sustainability and the comfort it renders to the secular life. The result helps to promote the wabi-sabi style, making more people know about this style and think deeply about their attitude to their lives, and grabbing more attention to wabi-sabi fashion for its environmentally friendly function.

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Žarić, Stefan. "THE PROBLEM OF THE HISTORIZATION OF 20TH CENTURY SERBIAN FASHION 1920-1980." Istorija 20. veka 40, no. 1/2022 (February 1, 2022): 1–16. http://dx.doi.org/10.29362//ist20veka.2022.1.zar.1-16.

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The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.

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Žarić, Stefan. "THE PROBLEM OF THE HISTORIZATION OF 20TH CENTURY SERBIAN FASHION 1920-1980." Istorija 20. veka 40, no. 1/2022 (February 1, 2022): 1–16. http://dx.doi.org/10.29362/ist20veka.2022.1.zar.1-16.

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The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.

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Ge, Yunxiang, Hao Qin, and Cheng Lu. "Distribution of fashion in terms of marketing: history and actuality." OOO "Zhurnal "Voprosy Istorii" 2022, no. 10-2 (October 1, 2022): 222–31. http://dx.doi.org/10.31166/voprosyistorii202210statyi64.

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The article analyzes the modern scientific literature in the field of marketing and fashion research. It provides data on the directions of these studies, identifies the role of fashion in modern society and defines its social functions, and analyzes the factors that influence the development of marketing in the dissemination of fashion.

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Lester-Makin, Alexandra. "Fashion in the Middle Ages." European Review of History: Revue europeenne d'histoire 20, no. 1 (February 2013): 159–61. http://dx.doi.org/10.1080/13507486.2012.756299.

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Kurokawa, Yuko. "Vivienne Westwood's ‘Seditionaries’ Clothes and the Change in Japanese Girls' Cute Fashions in the Early 1990s." Costume 47, no. 1 (January 1, 2013): 63–78. http://dx.doi.org/10.1179/0590887612z.00000000015.

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A major change overtook Japanese girls' fashion in the early 1990s. Influenced by the fashion magazine Cutie, a version of the young girl-oriented subculture publication Takarajima, girls began to aggressively express themselves with individualistic clothing that did not go out of its way to pander to the opposite sex. Girls' fashions up until then tended to be imbued with a very Japanese childlike girlishness, but the ‘new’ cute look added boyish elements. This early 1990s trend in Japanese fashion was related to the popularity among Japanese youth at that time of the ‘Seditionaries’ clothing line created by British designer Vivienne Westwood in the late 1970s.

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Garelick, Rhonda. "Lagerfeld, Fashion, and Cultural Heritage." English Language Notes 60, no. 2 (October 1, 2022): 156–74. http://dx.doi.org/10.1215/00138282-9890835.

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Abstract When Karl Lagerfeld took over the Maison Chanel in 1983, its founder, Coco Chanel, had been dead for twelve years, and the iconic brand was foundering. Once the epitome of French glamour, history, and feminine luxury, the house was rapidly losing prestige and relevance. Lagerfeld revived the brand through a complex reinterpretation of its iconography, its founder’s persona, and especially its relationship to French identity and patrimoine culturel—cultural patrimony. His reign at Chanel amounted to a de facto commentary on nationality, personality, style, and gender, demonstrating how history and politics get filtered and expressed through fashion.

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Crane, Diana. "Fashion and Artification in the French Luxury Fashion Industry." Cultural Sociology 13, no. 3 (September 2019): 293–304. http://dx.doi.org/10.1177/1749975519853667.

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Fashion design is created in systems of collaborative relationships comparable to art worlds but fashion systems differ from art worlds in the relative emphasis on economic considerations and in the utility of what is produced. A brief history of the French fashion systems underlying haute couture and luxury ready-to-wear fashion reveals that both systems exhibited a tendency toward partial artification, as seen in the creation of designs with avant-garde connotations, although designers were primarily concerned with economic rewards. This tendency was reversed toward the end of the 20th century as both types of designers ceded control over their firms to luxury fashion conglomerates. The importance of fashion collectibles as a form of cultural heritage increased with the emergence of fashion museums but auction prices of fashion collectibles are significantly lower than in the fine arts. Higher auction prices for fashion collectibles occur in cases of celebrity validation or when the fashion collectible has some connection with fine art.

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Church, Donna. "Book Review: Fashion Fads through American History: Fitting Clothes into Context." Reference & User Services Quarterly 56, no. 3 (April 3, 2017): 217. http://dx.doi.org/10.5860/rusq.56n3.217.

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Many works have explored the history of dress and its significance in larger cultural movements, such as the detailed overviews of clothing customs addressed in Clothing through American History edited by Amy T. Peterson and Amy T. Kellogg (Greenwood 2008) or the insightful works of Valerie Steele including the Berg Companion to Fashion (Oxford 2010) and Fifty Years of Fashion (Yale 2000). However, most of these works look at the seminal movements and most enduring fashion statements while this volume addresses the more ephemeral but still significant fads in fashion culture.

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Bradford, Julie. "Kate Nelson Best, The History of Fashion Journalism." Costume 53, no. 1 (March 2019): 137–38. http://dx.doi.org/10.3366/cost.2019.0108.

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Petrov, Julia. "Fashion, History, Museums Inventing the Display of Dress." Dress 46, no. 2 (July 2, 2020): 163–65. http://dx.doi.org/10.1080/03612112.2020.1787588.

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Paulicelli, Eugenia. "Reframing history: Federico Fellini’s Rome, fashion and costume." Film, Fashion & Consumption 8, no. 1 (April 1, 2019): 71–88. http://dx.doi.org/10.1386/ffc.8.1.71_1.

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McNeil, Peter. "Japanese Fashion: A Cultural History by Toby Slade." Fashion Theory 14, no. 4 (December 2010): 549–52. http://dx.doi.org/10.2752/175174110x12792058834211.

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