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Journal articles on the topic 'Haute Couture'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 June 2024

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1

Garré, Roy. "Haute Couture." Rechtsgeschichte - Legal History 2003, no. 02 (2003): 175–77. http://dx.doi.org/10.12946/rg02/175-177.

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KIYAI @ KEAI, GREGORY, NOOR HAFIZA ISMAIL, and KHAIRUN NISA MUSTAFFA HALABI. "PEMBANGUNAN DAN CABARAN HAUTE COUTURE DALAM INDUSTRI FESYEN." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (March 31, 2024): 80–96. http://dx.doi.org/10.47252/teniat.v12i1.1297.

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Abstrak Haute Couture merupakan sebuah industri fesyen yang berpengaruh besar dalam mewujudkan jenama mewah seperti Christian Dior, Valentino, Channel dan Fendi. Perkembangannya mengambil masa yang lama iaitu bermula sejak abad ke-19 semasa pemerintahan Raja Louis XIV di Perancis sehinggalah menjadi sebuah falsafah yang berkuasa dalam legasi fesyen dunia. Penyelidikan ini adalah bersifat kualitatif dalam mengkaji evolusi industri Haute Couture dan impaknya kepada industri fesyen pada hari ini. Kajian ini dijalankan dengan menganalisis pascapenulisan yang berkaitan dengan konsep, legasi sejarah, perkembangan dan sumbangan industri Haute Couture terhadap industri fesyen pada masa kini. Hasil kajian mendapati bahawa, penerimaan terhadap industri Haute Couture mengalami krisis dalam mengekalkan identiti asli yang diwarisi sejak dari abad ke-19 lagi, namun legasinya dalam sejarah fesyen masih kekal berkuasa dan mempunyai peminat yang tersendiri dalam kalangan golongan elit dari seluruh negara yang mementingkan hasil kerja tangan yang asli, ekslusif dan bercita rasa tinggi. Rekomendasi untuk kajian akan datang adalah sebagai kajian rintis bagi penyelidikan kualitatif dan perbandingan budaya dalam industri Haute Couture. Abstract Haute Couture, with a history dating back to the 19th century during the reign of King Louis XIV in France, has played a significant role in shaping luxury brands like Christian Dior, Valentino, Chanel, and Fendi. This research adopts a qualitative, historical approach to examine the evolution of the Haute Couture industry and its enduring impact on the contemporary fashion landscape. The research was conducted by analyzing post-writings related to the concept, historical lineage, development, and contributions of Haute Couture to the current fashion industry. The findings reveal that while the Haute Couture industry faced challenges in preserving its original identity from the 19th century, its historical legacy continues to exert a profound influence and maintains a dedicated following among elites worldwide who value originality, exclusivity, and intricate craftsmanship. Future studies could consider this research as a pilot study for qualitative and comparative cultural investigations within the Haute Couture industry.
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Kiyai, Gregory. "HISTORY OF DEVELOPMENT HAUTE COUTURE IN THE FASHION INDUSTRY." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (March 31, 2024): 80–96. http://dx.doi.org/10.47252/teniat.v12i1.1160.

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ABSTRACT Haute Couture, with a history dating back to the 19th century during the reign of King Louis XIV in France, has played a significant role in shaping luxury brands like Christian Dior, Valentino, Chanel, and Fendi. This research adopts a qualitative, historical approach to examine the evolution of the Haute Couture industry and its enduring impact on the contemporary fashion landscape. The research was conducted by analyzing post-writings related to the concept, historical lineage, development, and contributions of Haute Couture to the current fashion industry. The findings reveal that while the Haute Couture industry faced challenges in preserving its original identity from the 19th century, its historical legacy continues to exert a profound influence and maintains a dedicated following among elites worldwide who value originality, exclusivity, and intricate craftsmanship. Future studies could consider this research as a pilot study for qualitative and comparative cultural investigations within the Haute Couture industry ABSTRAK Haute Couture merupakan sebuah industri fesyen yang berpengaruh besar dalam mewujudkan jenama mewah seperti Christian Dior, Valentino, Channel dan Fendi. Perkembangannya mengambil masa yang lama iaitu bermula sejak abad ke-19 semasa pemerintahan Raja Louis XIV di Perancis sehinggalah menjadi sebuah falsafah yang berkuasa dalam legasi fesyen dunia. Penyelidikan ini adalah bersifat kualitatif dalam mengkaji evolusi industri Haute Couture dan impaknya kepada industri fesyen pada hari ini. Kajian ini dijalankan dengan menganalisis pascapenulisan yang berkaitan dengan konsep, legasi sejarah, perkembangan dan sumbangan industri Haute Couture terhadap industri fesyen pada masa kini. Hasil kajian mendapati bahawa, penerimaan terhadap industri Haute Couture mengalami krisis dalam mengekalkan identiti asli yang diwarisi sejak dari abad ke-19 lagi, namun legasinya dalam sejarah fesyen masih kekal berkuasa dan mempunyai peminat yang tersendiri dalam kalangan golongan elit dari seluruh negara yang mementingkan hasil kerja tangan yang asli, ekslusif dan bercita rasa tinggi. Rekomendasi untuk kajian akan datang adalah sebagai kajian rintis bagi penyelidikan kualitatif dan perbandingan budaya dalam industri Haute Couture.
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4

Tilt, David. "Understanding the Role of “the City” in Developing Complex Regulatory Frameworks." McGill GLSA Research Series 1, no. 1 (November 22, 2021): 1–24. http://dx.doi.org/10.26443/glsars.v1i1.141.

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This paper considers the relationship between the legal regulation of haute couture in Europe and the importance of “the city” as the locus of complex cultural, legal, and geographical forces. Haute couture and its legal framework are used as a case study to investigate how local dynamics – in this case, focusing on the role of the city – can shape the national and international legal responses to a cultural phenomenon, as well as provide a more complete understanding of how culturally significant practices acquire such an enduring meaningfulness in society. Connecting the role of ‘the city’ and legal regulation is particularly interesting through the lens of haute couture because while cities are frequent hosts to artistic or cultural movements, haute couture resulted in an elaborate system of strict regulation that extends beyond the ordinary intellectual property toolbox. This framework has a broader function than national intellectual property law because it not only reflects the legal dynamic of a particular industry, but the cultural and artistic practices of a specific, and particularly localised in this case, city. Haute couture is a demonstration of the complex relationship between local, national, and international modalities of law-making. Haute couture emerged as a niche, city-specific, cultural development yet it resulted in a national framework of regulation that reinforced the centralisation of Paris in haute couture, building and further supporting localisation and sub-localisation in the context of the dense network of fashion houses, ateliers, and schools.
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Podboj, Martina. "“Haute couture? More like haute glue!”." Journal of Language and Sexuality 12, no. 1 (February 2, 2023): 73–97. http://dx.doi.org/10.1075/jls.21013.pod.

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Abstract Reading is a unique interactional practice in the drag queen community. It refers to leveling witty and often cutthroat mock insults at fellow drag queens, with an aim of throwing shade. In this paper, I examine the discourse of the ‘reading challenge’, a staple of RuPaul’s Drag Race (RPDR), an internationally popular drag queen reality TV show (2009–). In the first part, I review central concepts surrounding drag performance and the phenomenon of RPDR and summarize relevant sociolinguistic literature about drag queen speech and the practice of reading. In the second part, I describe the RPDR reading challenge as a unique discursive genre and analyse its performative structure, themes, and most prominent strategies that queens use to construct felicitous reads and throw shade. The analysis demonstrates that this genre relies on camp language and highly ritualized, repetitive, and recontextualized performance of reading, framed by requirements of mass-consumed reality TV.
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6

Загоскина, Василина. "Франция - туризм Haute couture." Украинский туризм, no. 3 (2010): 28–33.

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7

Beaudoin-Ross, Jacqueline. "Marie-Paule Haute Couture." Dress 18, no. 1 (January 1991): 15–26. http://dx.doi.org/10.1179/036121191803657124.

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Wormer, Eberhard J. "Haute Couture hautnah erleben." Orthopädie & Rheuma 18, no. 6 (December 2015): 64–65. http://dx.doi.org/10.1007/s15002-015-0801-4.

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9

Bell, Elaine. "Haute couture for peptides." Nature Reviews Immunology 2, no. 11 (November 2002): 813. http://dx.doi.org/10.1038/nri938.

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Deveaux, Marc, and Didier Gosset. "Les psychotropes haute couture." Annales de Toxicologie Analytique 12, no. 1 (2000): 90–96. http://dx.doi.org/10.1051/ata/2000036.

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11

Fischer, Manuel. "Haute Couture aus Recycle-Weissblech." PACKaktuell 39, no. 2 (2022): 7. http://dx.doi.org/10.51202/1664-6533-2022-2-007.

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Lickhardt, Maren. "ZIVILISATIONSFLUCHTFANTASIEN IN COTTAGECORE UND HAUTE COUTURE." POP 10, no. 2 (September 1, 2021): 21–27. http://dx.doi.org/10.14361/pop-2021-100204.

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Larato, Sidonie. "Une langue de la Haute Couture ?" Traduire, no. 235 (December 1, 2016): 56–65. http://dx.doi.org/10.4000/traduire.848.

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14

SITARA, Anika, Mudassar ABBAS, and Faiza ANWAR. "DECORATING FURTHER:APPLYING COSMETICFINISHESTO THE HAUTE COUTURE." TEXTEH Proceedings 2019 (November 5, 2019): 36–41. http://dx.doi.org/10.35530/tt.2019.50.

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Research and experimentation becomes salient element for the rising of any country’s economic development. Designers are consolidating natural and synthetic materials to enhance the textile surfaces and making something contemporary out-of-the-box. In this high-tech stage of era, functional finishes are becoming part of the textile and fashion world. In this research two decorative functional finishes such as Fluorescent and Phosphorescent (Glow in the Dark) are employed onto cotton substrates to develop haute couture dresses. The main purpose of these finishes is to enhance the aesthetics of the garments rather than decorate them with typical printing materials and techniques. Functional finishes have already been used in past for technical aspects but in limitations. These two major finishes will be utilized with self created print designs on classic theme “Memphis style” .Cut lines are also represent modern era garments for spring season.
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Newton, Stella Mary, and Jane Bridgeman. "London Haute Couture in the 1930s." Costume 39, no. 1 (January 1, 2005): 4–27. http://dx.doi.org/10.1179/cos.2005.39.1.4.

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16

Amato, I. "Designer Solids: Haute Couture in Chemistry." Science 260, no. 5109 (May 7, 1993): 753–55. http://dx.doi.org/10.1126/science.260.5109.753.

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17

Aerden, Michèle. "From Haute Couture to FDI Presidency." Journal of Dental Education 70 (November 2006): 52. http://dx.doi.org/10.1002/j.0022-0337.2006.70.11_suppl.tb04219.x.

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18

Angelini, Eileen M. "Beyond Fashion and Parisian Haute Couture." Popular Culture Review 9, no. 2 (August 1998): 139–52. http://dx.doi.org/10.1002/j.2831-865x.1998.tb00136.x.

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19

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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21

Strecker, Nicole. "netze und farben." tanz 14, no. 11 (2023): 54–59. http://dx.doi.org/10.5771/1869-7720-2023-11-054.

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22

Borchert, Benedikt. "When haute couture fashion meets biomimetic design." Reinforced Plastics 63, no. 5 (September 2019): 257–59. http://dx.doi.org/10.1016/j.repl.2019.08.001.

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Beverland, Michael. "Whither industry leaders? Lessons from haute couture." Business Horizons 47, no. 2 (March 2004): 63–70. http://dx.doi.org/10.1016/j.bushor.2003.08.003.

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Pierazzo, Elena. "Quale infrastruttura per le edizioni digitali:." Textual Cultures 12, no. 2 (August 29, 2019): 5–17. http://dx.doi.org/10.14434/textual.v12i2.27685.

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L’articolo riflette sui modi di produzione delle edizioni scientifiche digitali, lamentandone i costi eccessivi che di fatto escludono i giovani ricercatori dalla loro produzione. Utilizzando una metafora presa in prestito dal mondo della moda, le edizioni scientifiche digitali esistenti sono paragonate all’haute couture e al prêt-à-porter: l’autrice distingue infatti le edizioni specializzate, caratterizzate dai costi elevati e dall’essere costruite “su misura” (haute cou- ture) da quelle seriali, caratterizzate da una certa uniformità e dai costi ridotti (prêt-à- porter), auspicando una più generale diffusione di quest’ultimo modello. La seconda parte dell’articolo riflette sulle caratteristiche delle edizioni seriali e loro relazioni con le edizioni specializzate. This article reflects on current ways of producing digital scholarly editions, noting that they typically involve excessive costs that effectively exclude young or independent scholars from undertaking their production. Using a metaphor borrowed from the world of fashion, exist- ing digital scholarly editions are described as either ‘haute couture’ or ‘prêt-à-porter’: that is, either specialized editions characterized by high costs and by production ‘to measure’ (haute couture), or those that use existing frameworks and so are characterized by a certain unifor- mity and reduced costs (prêt-à-porter). The article argues for a wider diffusion of the latter model, but the second part presents a reflection on the characteristics of these editions and their productive interactions with the more specialized type of edition.
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Rosa, António Machuco. "The evolution and democratization of modern fashion: from Frederick Worth to Karl Lagerfeld’s fast fashion." Comunicação e Sociedade 24 (December 30, 2013): 79–94. http://dx.doi.org/10.17231/comsoc.24(2013).1777.

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This article examines how the haute couture associated with fashion evolved from the initial creation of Frederik Worth to Karl Lagerfeld. The main idea is to see how the manifestations of the desire to display himself are grounded on differentiation strategies that are always positioned themselves as an anti-fashion critic of previous fashions. In particular, it will be analyzed three moments in the process of democratization of fashion: the chic haute couture created by Coco Chanel in opposition to Paul Poiret conspicuous and ostentatious fashion, the Yves Saint Laurent strategy that indiferentiates gender, and the fast-fashion strategy developed by Karl Lagerfeld in his collection for H & M. From these three cases, and based on theories Thornstein Veblen and George Simmel, it will be presented a theoretical model that allows us to understand the overall dynamics of fashion change.
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Neill, Lindsay, Nigel Hemmington, Christine McDonald, and Francesca Zampollo. "Designer delectables; exploring the design practice of haute couture and haute cuisine." International Journal of Gastronomy and Food Science 35 (March 2024): 100870. http://dx.doi.org/10.1016/j.ijgfs.2024.100870.

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Zeitune, Leonardo Jacques Gammal. "Popularizing Haute Couture: A Balenciaga Brand Case Study." Art and Design Review 09, no. 01 (2021): 46–57. http://dx.doi.org/10.4236/adr.2021.91004.

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Palmer, Alexandra, and Camilla Townsend. "Toronto and the Paris Haute Couture, 1945–1963." Dress 20, no. 1 (January 1993): 79–85. http://dx.doi.org/10.1179/036121193805298237.

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Jobling, P. "Dressing Modern Frenchwomen: Marketing Haute Couture, 1919-1939." Enterprise and Society 12, no. 4 (April 15, 2011): 903–5. http://dx.doi.org/10.1093/es/khr002.

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Frey, L., and S. Stern-Straeter. "Von der ?Haute Couture? zu ?Pr�t-�-porter??" Der Anaesthesist 53, no. 5 (May 1, 2004): 411–13. http://dx.doi.org/10.1007/s00101-004-0685-1.

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31

Bartlett, Djurdja. "Glitz and Restraint—Paris Haute Couture on Display." Fashion Theory 18, no. 4 (September 2014): 427–46. http://dx.doi.org/10.2752/175174114x13996533400033.

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32

Evans, Caroline. ":Dressing Modern Frenchwomen: Marketing Haute Couture, 1919–1939." American Historical Review 114, no. 3 (June 2009): 845–46. http://dx.doi.org/10.1086/ahr.114.3.845.

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Ritchie, Rachel. "Dressing Modern Frenchwomen: Marketing Haute Couture, 1919–1939." European Review of History: Revue europeenne d'histoire 18, no. 2 (April 2011): 285–87. http://dx.doi.org/10.1080/13507486.2011.558288.

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34

Bianchi, Pierre-Paul, and Anouk Schauenberg. "Analyse multimodale de pubs en ligne : H&M et Erdem sur Facebook et Instagram." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 64 (September 9, 2021): 59–68. http://dx.doi.org/10.26034/la.cdclsl.2021.1017.

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En utilisant l’angle de la multimodalité, cet article compare la communication publicitaire d’une grande ligne de vêtements, H&M, en collaboration avec ERDEM, maison de haute couture britannique pour la collection capsule Automne-Hiver 2017 « ERDEMxH&M » : H&M diffuse un message et un dispositif visuel (Boomerang) identiques sur deux plateformes, Facebook et Instagram. Cet article se propose d’étudier l’efficience d’un même message sur deux plateformes différentes, en tenant compte de la diversité des communautés relatives à celles-ci. Sur Instagram, la moyenne d’âge est globalement plus jeune et les méta-liens mieux adaptés alors que sur Facebook, la communauté est plus âgée et les méta-liens moins bien mis en place. En outre, ce message publicitaire tente de réunir deux communautés divergentes : celle de la mode grand public, H&M, et celle de la haute couture, Erdem. L’enjeu de cette publicité est donc de réussir à s’adresser à la fois à ces quatre communautés.
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Atkinson, Harriet. "Wartime Fashion: From Haute Couture to Homemade, 1939–1945." Contemporary British History 28, no. 1 (January 2, 2014): 103–4. http://dx.doi.org/10.1080/13619462.2014.874647.

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Dell’Acqua, Anna Passoni. "Colori e trasparenze nella haute couture dell’Egitto greco-romano." Semitica et Classica 1 (January 2008): 113–38. http://dx.doi.org/10.1484/j.sec.1.100249.

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37

Carfrae, T. "The Structure of Stadia – from Exoskeletons to Haute Couture." Australian Journal of Structural Engineering 6, no. 3 (January 2006): 169–80. http://dx.doi.org/10.1080/13287982.2006.11464953.

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Montégut, Philippe. "Boué Soeurs: The First Haute-Couture Establishment in America." Dress 15, no. 1 (January 1989): 79–86. http://dx.doi.org/10.1179/036121189803657271.

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Tredway, Tom. "House of Fashion: Haute Couture and the Modern Interior." Journal of Design History 33, no. 1 (November 19, 2019): 93–94. http://dx.doi.org/10.1093/jdh/epz047.

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40

Smith, Lorraine Hamilton. "Change: Viktor&Rolf Haute Couture, Autumn/Winter 2020." Film, Fashion & Consumption 9, no. 2 (October 1, 2020): 193–99. http://dx.doi.org/10.1386/ffc_00019_7.

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Lockdown restrictions that were put in place by governments across the world during the first half of 2020 had a huge impact on the fashion industry, the full effects of which will perhaps be felt for years to come. In this short article, I will analyse the Viktor&Rolf Haute Couture, Autumn/Winter 2020 collection, which was created during this time and which directly references the change in mindset that designers and consumers alike have experienced; I will consider how the online-only presentation method has been used to further enhance the message conveyed by the clothing. The setting, music and voice-over used in this short fashion film are seemingly intended to bring an overall feeling of hope, and possibly joy, to the display of a small, yet cohesive collection that addresses the complex feelings of anxiety and isolation that characterize this historical moment.
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Martin, Colin. "Pharmaceutical haute couture: educating patients about health-care choices." Lancet 355, no. 9211 (April 2000): 1281–82. http://dx.doi.org/10.1016/s0140-6736(05)74718-8.

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42

김선영. "The Esthetic Characteristics on Christian Lacroix's Haute Couture Works." Research Journal of the Costume Culture 15, no. 2 (April 2007): 203–13. http://dx.doi.org/10.29049/rjcc.2007.15.2.203.

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Stewart, M. L. "Copying and Copyrighting Haute Couture: Democratizing Fashion, 1900-1930s." French Historical Studies 28, no. 1 (January 1, 2005): 103–30. http://dx.doi.org/10.1215/00161071-28-1-103.

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44

Trost, Vera. "WLB auf der Landesgartenschau 2016 in Öhringen." WLBforum 18, no. 1 (April 15, 2016): 59. http://dx.doi.org/10.53458/wlbf.v18i1.248.

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Die WLB vertritt 2016 zum sechsten Mal das Ministerium für Wissenschaft, Forschung und Kunst Baden-Württemberg auf einer Landesgartenschau. Sie zeigt vom 25. Mai bis 5. Juni in Öhringen einen Ausschnitt der Ausstellung „Haute Couture für Bücher – Einbandkunst in der Württembergischen Landesbibliothek“ im Treffpunkt Baden-Württemberg (TBW), der im repräsentativen Hoftheater an der Uhlandstraße gelegen ist.
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Tan, Ge. "Research on the Application of Blue and White Porcelain Patterns in Modern Womenswear Design." Journal of Research in Social Science and Humanities 2, no. 7 (July 2023): 39–42. http://dx.doi.org/10.56397/jrssh.2023.07.05.

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The application of blue and white porcelain patterns has made traditional Chinese culture known to a growing number of foreigners. Modern fashion design has become more diversified in styles, colors and silhouettes. Increasing numbers of designers at home and abroad are drawing design inspiration from traditional Chinese culture for haute couture and ready-to-wear design.
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46

Monti, Gabriele. "Zurich, 1970. The Exhibition Balenciaga: Ein Meister der Haute Couture." Fashion Theory 25, no. 4 (April 16, 2021): 513–39. http://dx.doi.org/10.1080/1362704x.2021.1905951.

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Trost, Vera. "„Haute Couture für Bücher“ auf der Landesgartenschau 2016 in Öhringen." WLBforum 18, no. 2 (October 15, 2016): 48–49. http://dx.doi.org/10.53458/wlbf.v18i2.346.

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48

Santen, R. J. "Estrogen synthesis inhibitors: from "off the rack" to haute couture." Journal of Clinical Endocrinology & Metabolism 77, no. 2 (August 1, 1993): 316–18. http://dx.doi.org/10.1210/jc.77.2.316.

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49

Santen, R. J. "Estrogen synthesis inhibitors: from "off the rack" to haute couture." Journal of Clinical Endocrinology & Metabolism 77, no. 2 (August 1993): 316–18. http://dx.doi.org/10.1210/jcem.77.2.8345033.

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50

Wu, Chin-tao. "Hermès in Asia: Haute Couture, High Art and The Marketplace." Oxford Art Journal 39, no. 3 (December 13, 2016): 441–55. http://dx.doi.org/10.1093/oxartj/kcw028.

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