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Journal articles on the topic 'Fashion of the 1970s'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Torma, Franziska. "Frontiers of Visibility." Transfers 3, no. 2 (2013): 24–46. http://dx.doi.org/10.3167/trans.2013.030203.

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This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous div

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qizi, Khojiakhmadova Dilorom Ulugbek. "THE FASHION REVOLUTION OF THE 1960S AND 1970S." International Journal Of History And Political Sciences 4, no. 8 (2024): 46–49. http://dx.doi.org/10.37547/ijhps/volume04issue08-08.

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The 1960s and 1970s were pivotal decades in the evolution of fashion, marked by a radical departure from previous styles and a reflection of the cultural upheavals of the time. This article explores the significant trends, influential figures, and cultural movements that shaped the fashion landscape during these transformative years. From the mod movement in Britain to the bohemian styles of America, we examine how fashion became a medium for self-expression and social commentary, ultimately laying the groundwork for contemporary fashion.

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Oliver, Sophie. "Fashion in Jean Rhys/Jean Rhys in Fashion." Modernist Cultures 11, no. 3 (2016): 312–30. http://dx.doi.org/10.3366/mod.2016.0143.

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This article proposes a reciprocal relationship between Jean Rhys's interwar fiction and the mass media that popularised her work in the 1960s and 1970s. Surveying the signs that Rhys and her writing had become fashionable – for example, press reviews and profiles, including in colour supplements and fashion magazines (even her own shoot), along with television adaptations of the work she wrote or set in the 1930s – the piece discusses how her postwar ‘readers’ interpreted this literature of an earlier period in a way that made sense of their own era. It argues that this use of the past to und

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Alzahrani, Sarah, and Safia Saroukh. "The Semiotic Dimension of Men's Fashion in Modern Eras." International Journal of Literature and Arts 12, no. 5 (2024): 133–48. http://dx.doi.org/10.11648/j.ijla.20241205.13.

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This research was conducted to study the semiotic relationship between historical men&apos;s costumes in modern times from the 17&lt;sup&gt;th&lt;/sup&gt; to the 19&lt;sup&gt;th&lt;/sup&gt; century and some functional (the intended function of the costume) and aesthetic (the art of fashion design) values. From a semiotic perspective, the research sample was determined by studying and analyzing four men&apos;s costumes in each of the three centuries. It was divided into four periods from the beginning to the 1920s, from the 1920s to the 1950s, from the 19

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Steele, Valerie. "Anti-Fashion: The 1970s." Fashion Theory 1, no. 3 (1997): 279–95. http://dx.doi.org/10.2752/136270497779640134.

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Almond, Kevin, and Caroline Riches. "Gerald McCann: The Rediscovery of a Fashion Designer." Costume 52, no. 1 (2018): 97–122. http://dx.doi.org/10.3366/cost.2018.0049.

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This article was prompted by the discovery of the archive of international fashion designer Gerald McCann, hidden in a garage in Fleetwood, Lancashire, UK. The contents of the archive revealed a treasure trove of press cuttings, photographs, fashion drawings and interviews as well as designs and costings from a once well-known designer, whose significance to the global fashion industry is sparsely documented and largely forgotten. The article reveals the history of the designer, who graduated from the Royal College of Art in London in the 1950s, during the tenure of Professor Madge Garland, an

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Esculapio, Alex Nora. "The transfeminine mystique: Transsexual models and the UK press, 1960–71." Critical Studies in Fashion & Beauty 15, no. 1 (2024): 23–47. http://dx.doi.org/10.1386/csfb_00072_1.

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The article investigates transgender embodiment, public feelings and (in)visibility in the British press in the 1960s and early 1970s by using the models and performers April Ashley (1935–2021) and Amanda Lear (1939–present) as case studies. Both Ashley and Lear worked as performers at the celebrated Parisian cabaret bar Le Carrousel in the 1950s, and later moved to London independently. Ashley – white, British, working class – enjoyed a successful but brief career as a commercial model that was cut short following her outing by a British tabloid in 1961. Lear – of French and alleged south-eas

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Chubotina, Iryna. "THE PEACOCK REVOLUTION OF THE 1960-1970s: ORIGINS, EVOLUTION AND FURTHER UNDERSTANDING." New Design Ideas 9, no. 1 (2025): 130–49. https://doi.org/10.62476/ndi.91.130.

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The development of men's costumes in the 1960s and 1970s was analyzed and assessed in terms of its prerequisites, formation and contributions to the modern wardrobe. The results indicate that over two decades, men's costumes underwent exceptional changes, both in their symbolic and structural solutions. We revealed the correlation between socio-cultural and general artistic movements and clothing design during this period. Furthermore, we analyzed the influence of literary and cinematographic works on the shaping of modern male aesthetics. The study examined the creative legacy of world design

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Dimitrio, Laura. "Japonisme, New Japonisme, and Pop Japonisme in Italian Fashion." Journal of Japonisme 9, no. 2 (2024): 80–114. http://dx.doi.org/10.1163/24054992-09020002.

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Abstract This article examines the profound impact exerted by Japanese fashion and culture on the evolution of Italian fashion. In Italy, the assimilation of Japanese clothing and aesthetics occurred particularly during three periods: 1870s–1920s (the era of Japonisme), 1970s–1990s (New Japonisme), and the early decades of the twenty-first century (Pop Japonisme). Throughout these periods, the kimono was a significant source of inspiration for Italian designers, who progressively reinterpreted this garment with increasing creativity. With the onset of New Japonisme, the influence of avant-gard

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Ashraf, Sana, Alicia Goh, Laura Surgenor, and Kevin McKenna. "H16 Fake or bake…the history of tanning in the worlds of medicine and fashion." British Journal of Dermatology 191, Supplement_1 (2024): i172. http://dx.doi.org/10.1093/bjd/ljae090.364.

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Abstract Over the years, the perception of health, beauty and status has been associated with skin colour. Influential figures over the ages, from Queen Elizabeth I to Kim Kardashian, have dictated social standards of beauty including the ‘ideal’ skin colour. In parallel, advancements in medicine and science have led to the use of light therapy as a treatment for many medical conditions. The history of tanning and the basis for society’s obsession are important to understand. During the Elizabethan era, Queen Elizabeth I used heavy layers of ‘Venetian ceruse’, a deadly concoction of white lead

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White, Nicola. "Max Mara and the Origins of Italian Ready-to-Wear." Modern Italy 1, no. 2 (1996): 63–80. http://dx.doi.org/10.1080/13532949608454769.

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SummaryThis article charts the establishment and expansion of the ready-to-wear Max Mara label before the birth of the Max Mara group in 1967. Until recently, little consideration has been given to the evolution of Italian fashion, and few histories of dress or Italian culture even mention its presence before the 1970s. Still fewer acknowledge the crucial emergence of fashionable ready-to-wear in Italy in the 1960s, in which Max Mara played a key role, and which anticipated the international success of ‘Italian style’ in the 1970s and 1980s.

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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 (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

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Almila, Anna-Mari. "Introduction: Fashion/Religion Interfaces." Religions 11, no. 3 (2020): 133. http://dx.doi.org/10.3390/rel11030133.

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The complex interconnections between religious beliefs and fashion in clothing have been increasingly recognised by researchers, already since the ‘new veiling’ phenomenon spread across the Muslim world in the 1970s (El-Guindi 1981, 1999; MacLeod 1987, 1992), and especially since the extreme politicisation of the Muslim veil in the 2000s and 2010s (Haddad 2007) [...]

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Emillia, Emillia, and Irhas Fansuri Mursal. "Sejarah Gaya Berbusana Perempuan Kota Jambi Tahun 1900 – 1970." Jurnal Siginjai 1, no. 2 (2021): 45–64. http://dx.doi.org/10.22437/js.v1i2.16354.

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This research is about the history of women's fashion style in Jambi in the 1900s - 1970s. Aims to add to the repertoire of writing about the history of gender and historical fashion in Jambi. This study describes how women's fashion style travels in Jambi City, as well as the influence of the entry of modernity and the impact it has on women's clothing styles in Jambi City. This research uses the historical method which has 4 stages, namely heuristics, source criticism, interpretation, and historiography. Kebaya clothing is a clothing that is often used in the daily life of women in the city

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Wheeler, Duncan. "Sex, Drugs, and Fashion in 1970s Madrid." Hispanic Research Journal 22, no. 2-3 (2021): 245–47. http://dx.doi.org/10.1080/14682737.2021.2030562.

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McMahon, Marci R. "Self-Fashioning through Glamour and Punk in East Los Angeles." Aztlán: A Journal of Chicano Studies 36, no. 2 (2011): 21–49. http://dx.doi.org/10.1525/azt.2011.36.2.21.

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Patssi Valdez, one of the most influential yet understudied female artists of the Chicana/o movement, was the only original and long-term female member of the 1970s art collective Asco. Through the visual discourses of pachuca glamour and punk, Valdez negotiated and exploited the gendered ideologies that visually put her at the center of the group. She used self-fashioning, or the intersection of dress with bodily performance, to respond to gendered ideologies of domesticity and a racialized public/private sphere that she confronted as a working-class Chicana in the 1960s and 1970s. Members of

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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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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 uniq

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Merlo, Elisabetta. "Italian fashion business: Achievements and challenges (1970s–2000s)." Business History 53, no. 3 (2011): 344–62. http://dx.doi.org/10.1080/00076791.2011.565512.

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Ruseva, Mariya. "The Mirror of Fashion." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 64, no. 4 (2022): 423–28. http://dx.doi.org/10.53656/bel2022-4-8-nsm.

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The book “Adornments and Grimaces. Fashion and Modernity in Bulgarian literature of the 1920s and 1930s” (2022) by Nadezhda Stoyanova takes fashion out of the periphery and establishes it as a significant topic for Bulgarian interwar literature. Highlighted as an alternative to the traumatic experience of experiences of the 1920s and 1930s, fashion is conceived as an authentic expression of life – an expression of self-awareness and of the will to change the Self. The mirror of fashion reflects the various images of the modern man, in which the longing to anticipate the present and the desire

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Ruiz Mas, José. "The Beatles in Spain: The Contribution of Beat Music and Ye-yés to the (Subtle) Musical, Cultural and Political Openness of General Franco’s Regime in the 1960s." Revista Alicantina de Estudios Ingleses, no. 36 (January 31, 2022): 111. http://dx.doi.org/10.14198/raei.2022.36.06.

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From the late 1950s and throughout the 1960s, the impact of American twist and rock’n’roll and British beat music, the Eurovision Song Contest, the considerable growth of the national record industry, the number of radio stations and the (still timid) deployment of nationwide TV gave rise in Spain to the development of the ye-yé fashion amongst the young Spanish population. This was accompanied by the development of a mild feeling of rebellion and critical spirit against the traditional conservative/Catholic status quo and the conventional mores of the previous generation. Indeed, from 1964-65

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Marzel, Shoshana-Rose, and Henriette Dahan-Kalev. "Mizrahim masculine fashion as the expression of political confrontation in Israel in the 1970s." International Journal of Fashion Studies 6, no. 2 (2019): 261–74. http://dx.doi.org/10.1386/infs_00008_1.

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This article explores how and why, in the 1970s, Israeli Mizrahi men – Jews from Arab countries – used fashion (among other tools) to both rebel against Ashkenazim hegemony and reconnect with their own roots. This article first shows how, during Israel’s pre-state era, many Jewish Ashkenazim pioneers wore a very simple outfit that was associated with socialist political ideology and became the male Israeli national dress code before and after Israel’s establishment in 1948. Not all Israelis identified with it, though: in the 1970s, second-generation male Mizrahim rebelled against the ethnic an

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Koma, Kyoko. "Acculturation of French fashion in Japan after World War II: Fashion as a device constructing identity." Acta Orientalia Vilnensia 12, no. 1 (2011): 63–77. http://dx.doi.org/10.15388/aov.2011.0.1097.

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Vytautas Magnus University / Mykolas Romeris UniversityIn our paper, we discuss how French fashion was acculturated in Japan after WWII, a period in which Japan rushed to modernise/occidentalise. Through an analysis of the dominant discourse of Japanese fashion magazines, we focus on the followingFrench fashion trend that spread throughout Japan: a long, flared skirt inspired by a Paris fashion. The skirt was a new look by French fashion designer Christian Dior just after WWII. The other focus of this paper is on the soaring popularity of European brand Louis Vuitton in 1970 and 1999. Modernis

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Maynard, M. "Grassroots Style: Re-evaluating Australian Fashion and Aboriginal Art in the 1970s and 1980s." Journal of Design History 13, no. 2 (2000): 137–50. http://dx.doi.org/10.1093/jdh/13.2.137.

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Obeera, J. M., Kumar M. S. Arun, and Shweta Mariyappanavar Dr. "Evolution Of Fashion: Ancient Clothes To Modern Fashion." Young Researcher 13, no. 2 (2024): 135–44. https://doi.org/10.5281/zenodo.13764899.

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<em>This research paper explores the evolution of fashion from its early origins to the present day. Initially, fashion was a basic necessity for protection and modesty, using natural materials like animal skins and plant fibres. As societies developed, clothing began to signify social status, as seen in ancient Egypt and Rome, where elaborate garments marked wealth and class. The 19th century saw the rise of haute couture in Paris, marking the beginning of the modern fashion industry with its emphasis on exclusivity and craftsmanship. The 20th century introduced rapid changes influenced by ma

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Ailsa, Vema, and Imam Santosa. "Retro Fashion Trend Study on Café Chair Design for Generation Z in Surabaya." PERSPEKTIF 12, no. 4 (2023): 1240–52. http://dx.doi.org/10.31289/perspektif.v12i4.9861.

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This article delves into the integration of retro fashion trends in chair design within Surabaya's café scene. Employing a descriptive qualitative research approach, this study seeks a profound comprehension of the impact of retro fashion trends on chair design. Data collection methods encompass theory development, observations, interviews, and questionnaire surveys. The analysis is rooted in predefined outcome variables. The study's findings underscore the substantial influence of the retro fashion trend on café chair design in Surabaya. Notably, Generation Z's consumer demand, characterized

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Hill, Joshua A. ":Sex, Drugs, and Fashion in 1970s Madrid." Social History of Alcohol and Drugs 38, no. 1 (2024): 148–50. http://dx.doi.org/10.1086/729046.

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Kamaluddin, Kamaliah, and Asiyah Kumpoh. "Baju Kurung or Baju Kebaya? Framing the History of the Brunei Women’s Fashion." Paramita: Historical Studies Journal 32, no. 2 (2022): 180–90. http://dx.doi.org/10.15294/paramita.v32i2.34526.

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This article investigates the relationship between women’s fashion in Brunei Darussalam and the historical factors that influenced the evolution of the former in the 1960s, the 1970s, and the 1980s. By employing a qualitative visual analysis method, this study analyzed photographs of Brunei women published in the national newspaper Pelita Brunei from the 1960s to the 1980s. Document review and thematic coding analysis were employed to frame and examine the historical context within which Brunei women’s fashion experienced a significant spectrum of trends. The findings of this study indicate th

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Skotarczak, Dorota. "Retro Fashion in Polish Film and Television of the 1970s as a Cultural Phenomenon." Annales Universitatis Mariae Curie-Skłodowska, sectio F – Historia 78 (December 22, 2023): 171–87. http://dx.doi.org/10.17951/f.2023.78.171-187.

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In the 1970s, retro fashion came to Poland from the West. It concerned recalling the interwar years with nostalgia in film, television and fashion. Its adoption was possible due to political and socio-demographic changes. In Poland, retro fashion was correlated with a specific fashion for the past, which involved full ennoblement of the nobility culture in the media. What is worth noting is that this fashion for the interwar period and nobility was not only eagerly adopted by the general public, but was also used politically to the legitimization of power. There were also attempts by some of t

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Zhang, Shibang, Xuanchen Shi, and Dingwen Wang. "The Application of Graffiti Style Illustration in Fashion." Highlights in Business, Economics and Management 1 (November 28, 2022): 307–12. http://dx.doi.org/10.54097/hbem.v1i.2671.

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Graffiti art originated in New York in the 1960s and 1970s, when young people began to create images on the surface of buildings and subway trains with paint and other materials. Bright graphic images and stylized letter combinations can be the expression of graffiti art. This art form has unique emotional expressiveness and artistic characteristics. Illustrations, originally referring to all kinds of pictures attached to books, play a supplementary role in explaining the text information in books. Up to now, the role of illustration has long been not limited to the supplement and interpretati

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Raj, Sony Jalarajan, and Adith K. Suresh. "Bollywood self-fashioning: Indian popular culture and representations of girlhood in 1970s Indian cinema." Film, Fashion & Consumption 12, no. 1 (2023): 67–82. http://dx.doi.org/10.1386/ffc_00053_1.

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This article investigates how Bollywood cinema represented girlhood experiences in India in the early 1970s. It argues that the films during this time focused on representing girls who displayed a variety of new fashion styles and attitudes, some of which were borrowed from western cultures. This was a sign that there was a new way of representing girls which broke with the submissive, dull and melancholic sari-wearing Indian female stereotype entrapped within domestic settings. The immediate result of this was the emergence of new style leaders and popular icons in Indian popular cinema. This

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Akou, Heather Marie. "Tetela amulets: Re-interpreting a medical anthropology collection as a fashion benchmark." International Journal of Fashion Studies 6, no. 2 (2019): 163–80. http://dx.doi.org/10.1386/infs_00002_1.

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In the 1920s and 1930s, missionaries and colonial officials in equatorial Africa collected thousands of amulets – devices worn on the body that were made locally for protection and healing (spiritual and/or physical). One of these collections – assembled in the 1920s by an American pseudo-missionary, Major John White – is now held at the Mathers Museum of World Cultures at Indiana University, which accepted the amulets and other artefacts used by the Tetela people as an example of ‘medical anthropology’. Although they were not made as ‘fashion’ (or even as art), I argue that they can be viewed

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Gangur, Dmitry I., and Natalya A. Gangur. "Soviet fashion houses and fashion trends of the 1950-1970s: all-Russian and regional dimensions." Vestnik Tomskogo gosudarstvennogo universiteta. Istoriya, no. 74 (December 1, 2021): 31–40. http://dx.doi.org/10.17223/19988613/74/4.

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Lazaro, David E. "Getting the Sack: The Controversial Late 1950s Fashion." Costume 58, no. 2 (2024): 226–54. http://dx.doi.org/10.3366/cost.2024.0307.

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This article analyses the 1950s sack dress within the context of American and English fashion. The garment, featuring an undefined waistline and a shorter, more constricted hemline, was by all accounts as popular (and controversial) as the changes in women’s fashion in the years after the Second World War. While the sack’s zenith can be clocked to the autumn of 1957 and spring of 1958, this article contextualizes this moment against the trajectory of less figure-defining fashions throughout the 1950s. The uproar against the style has become legendary, centred around expectations of how a woman

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Tong, Darlene. "Contemporary art and fashion: from Pop to Populist." Art Libraries Journal 14, no. 4 (1989): 17–21. http://dx.doi.org/10.1017/s0307472200006477.

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During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.

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Kim, S. Y. "Dressed to Kill: Women's Fashion and Body Politics in North Korean Visual Media (1960s - 1970s)." positions: asia critique 19, no. 1 (2011): 159–91. http://dx.doi.org/10.1215/10679847-2010-028.

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Merlo, Elisabetta, and Francesca Polese. "Turning Fashion into Business: The Emergence of Milan as an International Fashion Hub." Business History Review 80, no. 3 (2006): 415–47. http://dx.doi.org/10.1017/s0007680500035856.

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The Italian fashion industry rose to a position of international prominence in the second half of the twentieth century. An important factor in the sector's global success was the opening up of the international, particularly the American, markets. The changes that occurred within the fashion industry after World War II, most critically the end of the Parisian monopoly, offered opportunities that were exploited differently by the various competitors. While cities like London and New York managed to promote themselves as alternatives to Paris, Italy was initially unable to create a single fashi

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Lee, Hana, and Yhe-Young Lee. "Ideal Image and Fashion of Korean Women in the 1970s." Journal of the Korean Society of Clothing and Textiles 39, no. 5 (2015): 641–55. http://dx.doi.org/10.5850/jksct.2015.39.5.641.

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Ma, Yuru, and Xiangyang Bian. "Research on Chinese Influence on Western Fashion Based on Fashion Magazine from 1970 to 1979." Asian Social Science 16, no. 2 (2020): 11. http://dx.doi.org/10.5539/ass.v16n2p11.

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The decade of 1970s was a peak of Chinese influence on Western fashion. This article was intended to reveal the categories and design characteristics of Chinese-influenced clothing with classified statistical method based on collecting a total of 295 sets of designs presented during 1970-1979 from four fashion magazines. The underlying reasons for the popularity of Chinese-influenced clothing on western fashion were also analyzed and summarized. The research results showed that the Chinese-influenced clothing included three categories: outdoor daily clothes, indoor home wears and evening dress

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Todorova, Tanya. "Fashion and the Modern Subject." Izdatel XXV, no. 1 (2023): 65–67. https://doi.org/10.70300/nowrr9tfkclths5he.

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Nadezhda Stoyanova’s monograph “Embellishments and Grimaces” looks into the sophisticated relationship between modernity and fashion in terms of people living during the the 1920s and 1930s of 20th century. Exploring a wide range of trends in a number of fields, including fashion trends, trends in social activities and cultural trends, the author presents the concept of ephemerality as the main perceptual mechanism of the “heroes of modern life”.

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Miller, Taylor Cole. "The Fashion of Florrick and FLOTUS." Television & New Media 18, no. 2 (2016): 147–64. http://dx.doi.org/10.1177/1527476416652486.

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In this article, I explore The Good Wife’s particular uses of costuming and wardrobe and the consequent linkages to politics, feminism, and the discourse of “quality” television the show mediates. I argue that CBS borrows language from feminism to rehabilitate network broadcasting’s reputation as a dying medium in the wake of premium cable, time shifting, and cord-cutting. In the service of this strategy, I investigate how CBS dusts off an old tactic from The Mary Tyler Moore Show in the 1970s, using fashion to target a “quality” professional female audience and self-referentiality to resignif

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Noia, Eleonora, Silvia Mazzucotelli Salice, and Antonella Capalbi. "Narratives and legacies of 1960s Vogue Italia covers on contemporary Italian young women." Film, Fashion & Consumption 12, no. 1 (2023): 83–108. http://dx.doi.org/10.1386/ffc_00054_1.

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The article investigates the legacy, in terms of narratives and representations of femininity, of Vogue Italia covers from the 1960s and 1970s on contemporary Italian young women. To do this, we visually and textually analyse two different corpora: 143 Vogue Italia covers, retrieved from the Vogue Italia Archive and published between 1964 (Vogue’s first publication in Italy) and 1974 and between 2020 and 2022; and 46 mock covers of fashion simulated magazines created by female undergraduate fashion students during the academic years 2020/2021 and 2021/2022. Through the first corpus we examine

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Dykhnych, Liudmyla. "Visual Art as a Means of Presenting a Fashion Designer's Creative Idea." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 213–26. https://doi.org/10.31866/2410-1915.24.2023.287699.

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<i>The aim of the article </i>is to identify the types and functions of fashion graphics as a means of visualising the ideas and concepts of a fashion designer. <i>Results</i>. The role of visual art in expressing the idea of a fashion designer is characterised; based on the systematisation and analysis of examples of fashion graphics that visualise clothing models of such designers as K. Dior, Y. Saint Laurent, H. Mepen, V. Nesmiian, A. Tan, V. Anisimov, as well as the author's graphics of K. Lagerfeld, the following types of using visual art in presenting designer's ideas are identified 1) f

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Elson, R. E. "The Thai Village Economy in the Past. By Chattip Nartsupha. English Translation by Chris Baker and Pasuk Phongpaichit. Chiang Mai: Silkworm Books, 1999. Pp. viii, 131." Journal of Economic History 63, no. 1 (2003): 265–66. http://dx.doi.org/10.1017/s0022050703331808.

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This charmingly old-fashioned little book was first published in Thai in 1984, and now appears in an elegant English translation. The two major intellectual influences that gave it birth are rather older, dating from the 1950s, 1960s, and early 1970s. The first developed from the intersection of the academic pre-eminence of varieties of Marxist thinking about the “Third World” and the struggles of anticolonial peasant-based revolutionaries and produced a high age of romanticism about the Southeast Asian village and the unfortunate victims who inhabited them. The origins of the second are more

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Knowles, Joanne. "‘Fashion, you’re incomprehensible!’ Teenage girls, Jackie magazine and fashion as a negotiated social statement in the early 1970s." Film, Fashion & Consumption 12, no. 1 (2023): 51–66. http://dx.doi.org/10.1386/ffc_00052_1.

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The hugely popular girls’ magazine Jackie (1964–93) was a significant source of guidance for its readers on a range of matters, including fashion. This article analyses archive editions of Jackie held in the Femorabilia collection at Liverpool John Moores University to re-examine its fashion content during a period marked by a shift in emphasis from creativity to consumption. It also revisits Angela McRobbie’s highly influential research on Jackie, arguing that Jackie’s fashion coverage fulfils a broader social role than simply supporting the ‘ideology of femininity’ that McRobbie’s contempora

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Billant, Olivier, Gaëlle Friocourt, Pierre Roux, and Cécile Voisset. "p53, A Victim of the Prion Fashion." Cancers 13, no. 2 (2021): 269. http://dx.doi.org/10.3390/cancers13020269.

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Identified in the late 1970s as an oncogene, a driving force leading to tumor development, p53 turned out to be a key tumor suppressor gene. Now p53 is considered a master gene regulating the transcription of over 3000 target genes and controlling a remarkable number of cellular functions. The elevated prevalence of p53 mutations in human cancers has led to a recurring questioning about the roles of mutant p53 proteins and their functional consequences. Both mutants and isoforms of p53 have been attributed dominant-negative and gain of function properties among which is the ability to form amy

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Sauro, Clare. "‘This season of cellophane everywhere’: The scintillating cellophane fashions of 1934." Fashion, Style & Popular Culture 9, no. 3 (2022): 291–314. http://dx.doi.org/10.1386/fspc_00133_1.

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In 1934, textiles woven with strips of glittering cellophane were the pinnacle of high fashion. This trend has been credited mainly to Elsa Schiaparelli, who worked closely with the French textile manufacturer, Colcombet, to produce some of the most notable textiles of the early 1930s. While Schiaparelli was undeniably prominent in the promotion of cellophane fashions, she was one of many designers utilizing textiles woven with slit cellulose film during this period. The cellophane fashions produced by Schiaparelli and her peers were startling in their modernity and emblematic of the ‘strange

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Yoon, Doyeon, and Sungeun Suh. "Fashion Characteristics of the Casual Subculture in the 1970s and 1980s Represented in British Soccer Hooligan Movies." Korean Society of Fashion Design 23, no. 3 (2023): 119–39. http://dx.doi.org/10.18652/2023.23.3.7.

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Allbritton, Dean. "Sex, Drugs, and Fashion in 1970s MadridFrancisco Fernández De Alba. Sex, Drugs, and Fashion in 1970s Madrid. Toronto: U of Toronto P, 2020. 192 pp." Symposium: A Quarterly Journal in Modern Literatures 77, no. 4 (2023): 296–98. http://dx.doi.org/10.1080/00397709.2023.2265611.

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Klinova, Marina A. "Soviet fashion of the first half of the 1950s: formation of a new model of consumption." Vestnik of North-Ossetian State University, no. 2(2020) (June 25, 2020): 17–26. http://dx.doi.org/10.29025/1994-7720-2020-2-17-26.

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the article analyses textual and visual stories, is dedicated to the presentation of fashion images published on the pages of fashion and women’s magazines of the first half of the 1950s, the Study aims to determine vector dynamics and transformations of the Soviet fashion discourse (visual images and texts “fashion advice”) that occurred in the first half of the 1950s, the identification of the causality of these changes and trends socio-economic and political development of the country. When writing the article, the author was guided by the principles of historicism and objectivity. Work wit

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