Tag: fashion trends
The British Fashion Council has announced 4 designers set to show their collections to the public during London Fashion Weekend.
Fashion week may once have been an industry insiders only event but thanks largely to the influence of the internet, social media and a band of very popular bloggers or social influencers – everyone wants to get involved.
Sadly almost all fashion week shows have an invite-only policy that restricts the guestlist to fashion press, buyers and other industry figures. So unless you have the required skills to slip past a burly bouncer unnoticed, you’ll be left out in the cold (or tuning in online for the live stream).
Recent seasons have seen some moves towards the democratisation of fashion shows, most notably last year which saw Givenchy’s New York spring/summer 2016 show open its doors with some tickets made available to the public. And now it seems London Fashion Week will be following in its footsteps.
The BFC yesterday announced that London Fashion Weekend (the consumer-event that follows London Fashion Week) will this season see designers present their collections to the public.
Mary Katrantzou, Emilia Wickstead, Holly Fulton and Temperley London are the names announced so far who will be hosting catwalk shows at the 4 day long event which will be held this year at the Saatchi Gallery.
Whilst catwalk shows are not new to the event – the usual format is trend presentations featuring a variety of brands – this season’s offering however, will allow visitors to get an authentic fashion-insider experience with an in-depth look at the participating designer’s collections.
In addition the BFC have also announced a series of talks which will be held over the weekend hosted by an array of industry figures from designers Nicholas Kirkwood and Charlotte Dellal to Premier Models founder Carole White.
There will of course also be the usual shopping opportunities that London Fashion Weekend has become famous for.
Socio economic changes that occurred during the First World War 1914-18 and became accepted, changed the role of women in a way that no amount of campaigning by a few liberated ladies could have achieved. High fashion until the twenties had been for the richer women of society. Poiret had commissioned leading avant-garde photographers to photograph his work in the early 1920s; however, until after World War II fashion magazines and store catalogs most often used line drawings in iliustrations.
Illustrators such as Patou and Erte produced highly stylized work; Benito, Christian Berard and the American artist Eric provided an image of the clothes themselves, and their designers’ intended style, elegantly and economically.
In the twenties and thirties, however, black-and-white photography was becoming an important art form and photo portraits of famous personalities of the day highlighted their clothes as well as their looks (for example, Cecil Beaton’s photographs of Nancy Cunard wearing an armful of ivory and ebony bracelets). The Hollywood portrait publicity still in the 1930s added to the association between photography and glamor.
From the 1940s, photography came completely to dominate the fashion magazine although illustration was still common into the 1960s. Initially prized for its “truthfulness”, it is often less informative than line drawing, and can be just as mannered. Irving Penn in the United States, and Anthony Annstrong-Jones in Britain moved fashion photography towards a new informality and movement in the 1950s.
Chanel’s collaboration with the Parisian artistic avant garde had been much more successful. As early as 1922 she worked with Jean Codeau, Picasso and the composer Arthur Honegger on a production of the classical Greek play Antigone; and from 1923 to 1927 she worked with Sergei Diaghilev and Codeau on ballet designs.
For the first of their joint works, Le Train Bleu, a fantasy about the Riviera, the dancers were costumed in bathing suits, pullovers and tennis or golf shoes, and the leading female role was a tennis player. So fashion, sport and the artistic avant-garde united to celebrate the modernity of modem life, and Chanel’s little black dress (American Vogue called it the “Ford of fashion”) became the epitome of modernist style.
The modernist movement in art transcended both national boundaries and those of artistic form, influencing all the arts from architecture to the novel. Visually, it was the embodiment of the ideal of speed, science and the machine. It was a love affair with a rationalist, utopian future, and in architecture and design this led to an ascetic functionalism that considered houses and flats as machines for living, fumiture and household artefacts as items for use, not ornament, and even human beings as machines.
More than almost any other aspect of mass culture, high fashion acted as a conduit for this esthetic, translating it into a popular language of pared-down design and understated chic. In architecture, the Bauhaus movement created buildings that used glass to reveal the inner workings of the design. They stripped away the superfluous ornament that had cluttered 19th-century architecture with what was now regarded as the sentimental idealization of a past recreated in pastiche.
In dress, too, the watchword was now functionalism; clothing was simply an envelope for the body, which it impeded as little as possible. If there was to be adornment of any kind, it was to be of the art deco variety. Art deco was so called after the Exhibition des Arts Decoratifs, held in Paris in 1925. This exhibition had in a sense inaugurated the idea of a lifestyle, though the expression was not then used. It included a Pavilion of Elegance, in which the fashion designs of Chanel and Poiret, among others, were displayed. They complemented the furniture, ceramics and architecture – throughout, the few ornamental motifs and bright colors permitted were definite, clean-cut and jazzy.
In literature and painting, part of the modernism of modem art had been that the work of art interrogated its own intentions and questioned its own form. Perhaps what Cecil Beaton was to describe as the “nihilism” of the Chanel look was modernist too: it not only mocked the vulgarity of conspicuous consumption but, in inventing a look that was universal, international and reduced to the minimum, it almost sought to abolish fashion itself, creating instead a classic look that defied the one essential of fashion – change. At the same time the geometric, angular design of women’s clothing imitated the clean, spare lines of modern abstract art and design. Woman was no longer treated as a voluptuous animal; she had become a futurist machine.
Fashion thus disseminated the new esthetic of the modernist avant garde across two continents, and radically altered the way in which erotic beauty was conceived. Fashion became, superfiicially at least, classIess, and the great thing for a woman was no longer to look grand, but simply to look modem.
For the first time the New World and the Old engaged in a mutual cultural exchange of style and imagery. Although Paris stillled the way, the vamps and innocents of Hollywood – Theda Bara, Gloria Swanson, Mary Pickford, Louise Brooks constructed new tastes in beauty, while the “lost generation” of American expatriates settled in Paris and the south of France. Some of these hoped to create a new art and a literature that would reflect the often excessive and even tragic pleasure-seeking of the postwar generation.
Emest Hemingway, Scott Fitzgerald and many others tried to be as well as to describe a modern breed of sexually free beings, women and men whose minds, hearts and bodies were as untrammeled by traditional nations of morality as their bodies were by constricting clothes. Fitzgerald’s characters “discovered” the Riviera in summer until then it had been only a winter resort – and the suntan became another sign of working-class toil to migrate up the social scale. It became the status symbol of the globetrotter, who need never work and whose wealth permitted this inversion of established tastes. Society ladies took care to become brown as navvies, and Fitzgerald’ s heroine wore only pearls and a low-backed white bathing suit to set off her iodine-colored skin as she lay on the Mediterranean sands.
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The ways in which society may amuse itself around, in any country and at any time, an exceptional opportunity for the display of wealth and the assertion of social importance. Thorstein Veblen has graphically demonstrated this conscious or unconscious motivation in many forms of recreation.
It is clearly evident throughout American social history. The worthy citizens of eighteenth-century Philadelphia vied with each other in the magnificence of their banquets, loading their tables with massive silver plate and serving such a choice selection of imported wines that the visiting John Adams stood amazed at the “sinful feasts.”
The planters of Virginia rode to hounds in close imitation of the English country squires whose social status they sought to emulate in every possible way. Merchants of New York and Boston were already aspiring to yachts in the 1850’s, their sons to membership in the exclusive boating clubs, while all the fashionable world sought out Saratoga or Newport as a step upward on the social ladder.
It was in the latter half of the 19th century, however, the Gilded Age of American civilization, that society most flagrantly bent its pleasures to display. The newly rich born of industry’s great advance since the Civil War-owners of railways, coppermines, textile-mills, steel-plants, packing-houses, and cattle ranches.
A little band of idle rich held the final redoubt in the fashionable world of the 1880’s and 1890’s, and the families of the new plutocracy felt it essential to prove beyond shadow of doubt that they too were idle and rich. It was not in the American tradition, which esteemed riches and abhorred idleness, but urban society was running after strange gods. And, in any event, the new plutocrats generally supplied the riches and left it to willing wives and a younger generation to demonstrate the idleness.
Concert singing, visits by foreign musicians, and orchestral playing also revealed a growing taste among the sophisticated for more serious music. Jenny Lind had paved the way for the tours of European artists in the middle of the century, and Ole Bull had made two memorable visits. In the 1890’s Ysaye, Paderewski, Fritz Kreisler, Adelina Patti, Melba, Calvéé, and Madame Schumann-Heink were all on tour. Symphonic music had had its start with the organization of the New York Philharmonic as early as 1842, but it was not until 1878 that this orchestra had any real rival. In that year the New York Symphony Orchestra was established, to be followed in another three years by the Boston Symphony, and in 1891 by the Chicago Orchestra. Walter Damrosch and Theodore Thomas were adding a new interest to the musical scene.
Grand opera also had become firmly established. It had long been a distinctive feature of the social life of New Orleans, and there had been various attempts to introduce it in New York and other cities. Troupes of Italian singers had come and gone; elaborate opera houses had been opened-usually to fail after one or two seasons. “Will this splendid and refined amusement be supported in New York?” we find Philip Hone asking in 1833. “I am doubtful.” And for almost half a century his doubts were largely justified. It was in 1883 that the Metropolitan Opera House, costing nearly $2,000,000, provided grand opera with its first really permanent home in America.
With the first post-war boom in the 1860’s, observers began to note that New York society was becoming entirely based upon wealth, social prestige being won by those who had the most splendid carriages, drawing-rooms, and opera boxes. George Makepeace Towle has described the balls and assemblies-ladies in sparkling tiaras, suppers of oysters and champagne, fountains gushing wine or sprays of perfume. He was somewhat horrified by “so unceasing a round of glittering gaiety and dissipation.”
The advance of the new millionaires was picturesquely described as “the Gold Rush” by representatives of older social traditions. “From an unofficial oligarchy of aristocrats,” Mrs. John King Van Rensselaer sadly wrote, “society was transformed into an extravagant body that set increasing store by fashion and display.”
Nor was New York alone in this competitive rage for showy display. A sycophant press might boast that its ornate fancy-dress balls and ten-thousand-dollar dinner parties were the most expensive ever known, but the world of fashion throughout the land was closely following its lead. There was an epidemic of gaudy magnificence in the amusements of what went for society. One Chicago magnate brought an entire theatrical company from New York to entertain a group of his friends, and a wealthy woman in another city engaged a large orchestra to serenade her new-born child. San Francisco was notorious for its “terribly fast so-called society set, engrossed by the emptiest and most trivial pleasures.” A fortunate miner who had struck it rich in Virginia City drove a coach and four with silver harness; another had champagne running from the taps at his wedding party.
Between the wars, and even more in the 1950s, the love affair of black-and-white photography with high fashion gave birth to the frozen perfection of the fashion image. The sharp lines, dark shadow and white light dramatized the angular, exaggerated creations of the New Look period particularly well.
American photographer Richard Avedon captured the self-dramatization, the confidence, sophistication and self-mockery of haute couture in his work for Harper’s Bazaar in the early fifties. Avedon and others loved to place their glacial or cavorting models in bizzare or incongruous situations.
By 1960 a new generation of photographers was seeking inspiration from the grainy images of the new cinematic realism of British films such as Saturday Night and Sunday Morning or Room at the Top. Their work displaced line drawings as the main medium for fashion illustration, but was at times even more mannered, while the search for novelty could lead to downright eccentricity in choice of angles or location. At times the fashion photograph seemed less to attempt to convey information about the latest styles than to capture the mood of an ensemble, or even to suggest a whole lifestyle.
The fashion photographs of the 1960s made of a high fashion a performance, a street event, a triumph of the will. They also transformed photographic models into celebrities and stars, while the photographers themselves -David Bailey, Lord Snowdon, John French- became household names, heroes of the swinging sixties. Michalengelo Antonioni’s film Blow Up -often taken to epitomize “Swinging London”- involved just such a fashion photographer as its main character.
In the 1970s, the imagery became even more mannered and eccentric, or else banal. Black models appeared more frequently, but models tended to become ever more precious, while some photographers, notably the German Helmut Newton, flirted with an imagery drawn from soft pornography.
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Fashion is how we express our identitites. Fashion not only highlights the social history and the needs of women, but also the overall cultural aesthetic of the various periods. The evolution of fashion dates back to several hundred years and as our attitude and culture change, fashion comes along with it.
In the 1950s reconstruction in Europe and the boom brought about by the Korean war boosted the fashion industries of the capitalist world. There exists a great evolution through the fashion of the 40s to the 50s, and it involves different ideologies, dress trends, shoes and hairstyles.
Cheap, mass-produced clothes that closely followed prevailing fashions were more widely available than ever before. For the first time in this early postwar period all classes had access to clothes in up-to-date styles. Until the 1930s the poor and the old had tended to wear clothes in styles long out of fashion, either from choice or by necessity, but now even they were incorporated into the language of style.
The 50s were the shirtwaist era, when the rock and roll causes a change in the fashion. This era was represented perfectly at Grease movie, when we can see the different fashions between the social groups. The women used crinolines and shirtwaists. Men used jackets and blue jeans, with grease in their hair. And women used the hair over the shoulders.
The huge success of the New Look, and the stringent attempts of Dior and his contemporaries to lirnit the pirating of their fashion designs and take advantage of worldwide licensed copying and the adaptation of their creations for the mass market, led to an awareness of the news value of fashion. The evolution of styles was now dramatized so that each season was to have its own “look” or “line”. it had been possible to present the New Look as a revolution because of the hiatus of the war; henceforward dress designers sought to repeat this miracle in the molding of popular taste.
In the 1950s every season’s new line was frontpage news and most newsworthy of all was the length of the hemline. The height of the hemline was alýnost bound to be an easily changed variant of fashion when neither full-Iength skirts nor trousers were a serious option. Couturiers emphasized variations in eut and length and sought to encourage the association of fashion with exelusivity.
Parisian fashion in particular was promoted on the basis that it sold to the French aristocracy, to international royalty (women such as Queen Soraya of Iran) and pseudo-royalty Jackie Kennedy was a great fan of Pierre Cardin and Chanel). These clients were even more prestigious than internationally famous actresses and film stars, though they too used to publicize their favored couturiers- Audrey Hepburn, for example, whose sIender figure and waif-like face fixed the gamine look for the decade, was often dressed by Givenchy. Her appearance in his clothes in popular movies such as Funny Face (1957) gave them even more powerful publicity than they received from Vogue and other magazines.
The 60s were the time of a revolution. The hippie clothes, psychedelic ones, and groovy elements were fashionable. The hippies used a natural or ethnic style, love-ins, flowers, and free-flowing hairstyles.
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Let walk far away from CES 2012 for a second! We need to refresh our mind with something different. How about this one, a gold edition of Apple iPad 2? I knew iPad 2 is no longer a hot thing to be discussed. Do not get wrong, maybe you are not an Apple fan boy, but it is from Amosu.
Every time someone hear about Amosu, it’s common feel so excited to talk it. It might be because everyone could not afford to buy their products. Anyway, this time Amosu reconstructed the Apple logo using pure silver and adding the 360 Swarovski stones on it. Surely, it dazzles the glamorous and luxurious into your eyes, more, it placed in middle of 24-carat gold casing. In short, Amosu has succeed in turning the original Apple iPad 2 64GB into something that could change every woman heart.
Amosu iPad 2 64GB Gold Edition with Swarovski Apple logo is available now in MSRP 2,800 GBP. Like always, Amosu could personalize the device with other option according to your request.
The star steps out in a doily-like white minidress paired with an enormous purple-fringed purse.
Lindsay Lohan has had her fair share of fashion flubs over the years, but it seems like her sense of style is getting worse by the minute. The other day, the former “Freaky Friday” star unleashed her inner hippie by donning a doily-like Broderie Anglais mini dress while out and about in New York. Damaged locks, unflattering cheetah-print flats, and a monstrous, fringed handbag completed her catastrophic look.
The tennis star picks the French Open to debut a frock subtly designed with the landmark in mind.
Maria Sharapova chose an appropriate place to debut her new Eiffel Tower-inspired dress. The Russian tennis star opened play at the 2011 French Open wearing a new, canary-yellow Nike dress designed with Paris’ most famous landmark in mind.
Sharapova cruised to an easy 6-3, 6-0 victory in her first-round match over Mirjana Lucic while wearing the new garment, which features stitching meant to evoke the iron lattice design of the tower that dominates the Parisian skyline.
The 24-year-old Russian entered Paris as the No. 7 seed and was fresh off the biggest clay court victory of her career in Rome, a win which made her one of the favorites at Roland Garros. With a solid performance against Lucic, she did nothing to alter expectations.
In the early rounds, at least, the dress was the showcase. Nike says it’s lightweight and breathable, features a diamond shape in the back for flexibility (also a nod to Sharapova’s recent engagement?) and a two-layered skirt or jersey and mesh to help movement. It’s the best look Sharapova has had at a major in years. There’s something about the yellow against the red clay that pops.
The hip-hop mogul uses Twitter to urge 3.8 million followers to “double your money.”
Rappers have been known to influence interest in fashion trends, alcohol brands, and luxury automobiles. This week hip-hop mogul 50 Cent added the stock exchange to the list…
In just one day, 50 Cent’s promotion of the publicly traded H&H Imports, Inc. raised the company’s stock price from .10 to .39 per share…
The G-Unit head urged his 3.8 million Twitter followers to invest in the company. “TVG’s stock went from 5 cent to 10 in one day,” 50 wrote about the subsidiary of H&H. “You can double your money right now. Just get what you can afford.”.
50’s fans responded immediately, purchasing $50 million worth of the penny stocks. The New York rapper made $8.7 million from those exchanges..
Last October, 50 Cent received 30 million H&H shares in a private placement, the New York Post reported. Just days before encouraging his followers to purchase the stock, he premiered a joint effort with TV Goods, Inc., a set of headphones called Sleek By 50..
Using his influence to generate so much activity for a company in which he owned stock prompted some experts to speculate whether or not he may have violated insider trader laws..
Jonathan Macey, a professor of securities at Yale Law School, does not believe 50 Cent did anything wrong. “How can they call it a take if he didn’t sell his stock?” Macey said in an interview with Esquire. “All he said was that it’s a great company.”.
Let’s hope Macey is right. But to be safe, 50 has since deleted from his Twitter page all of the messages..
Jay-Z, another one of hip-hop’s most successful entrepreneurs, also revealed new business venture this week. The “Empire State Of Mind” rapper invested in Buffalo Boss, a chicken-wing restaurant co-owned by his cousin, Jamar White. Located in Brooklyn, the eatery specializes in the organic and spicy appetizers..
News wasn’t so good this week in several other music related news stories. After a six day pretrial hearing, a Los Angeles Superior judge has determined that Michael Jackson’s cardiologist Conrad Murray will stand trial for involuntary manslaughter. Rockers Drowning Pool insisted upon clearing the air about their song “Bodies” and its connection to Arizona shooting suspect Jared Loughner who featured the track on his YouTube channel.
The video used their song as the background music for an unpatriotic act. And the excitement over Britney Spear’s return was nearly eclipsed by accusations that her new song borrowed, without permission, lyrics from a 1979 country song.