Collette Dinnigan - Textiles and Design

In order to understand what motivated Liz Claiborne to become such a successful woman, it is helpful to go back her roots. Liz Claiborne was born in Brussels, Belgium on March 31st 1929, which was nine years after the Women’s Rights Movement ended in America. She had exposure to art in her childhood from her father who taught her to appreciate art and her mother who taught her to sew. Liz Claiborne spent her early years in Brussels and became a bilingual person who could speak French and English fluently. In 1939, she moved to New Orleans, Louisiana with her parents due to the threats from Nazis (Bernstein 1; “Liz Claiborne’ Biography”).

This short story is about a young Indian woman named Sumita, her impending arranged marriage and subsequent trip to America, which is symbolized by the color and type of her clothes. The author utilizes color symbolism to express the emotional changes that Sumita is going through and how she uses colors to keep her grounded with her Indian beliefs during her transition from girl to bride-to-be to an Indian-American to widow. There are many examples of colors that represent established Indian beliefs and religion are mentioned throughout the story.

Fashion has been a prominent aspect of a woman’s life throughout time. Women of different times and cultures have turned the routine of picking out clothes and putting together different ensembles into a sort of art, or a way to express and promote themselves. Many women also see fashion as part of their identity, or a way to manipulate the way people see them. What a woman wears can drastically change the way society views her - it can increase her chances of getting a job, or make her gain respect (or rejection) from her peers (Sika n.p.).

As a child, I have always been a visually observatory person. Patterns, textiles, and fashion have always been high interests of mine. My childhood consisted of many Barbie dolls as toys, and it wasn't the Barbie dolls that I wanted to play with, but the clothes that I loved to collect and interchange between the dolls. Creating different outfits for the dolls made me feel as if I was making my own mark in fashion. As I grew older, begging my mother to purchase fashion magazines like Vogue, Elle, and Harpers Bazaar were typical and became expected. While flipping through the pages of fashion magazines, I was enthralled while examining the latest trends from celebrities and models. This is what influenced me to want to work in the fashion industry.

Bethan Gray is an award winning Welsh designer that has an unusual but impressive family origin. Her ancestors originate from an ancient Rajasthani clan that spent many hundreds of years journeying across Arabia and Persia before choosing to remain in the Celtic region of Wales. This very heritage wove its way into being some of Bethan Grays’s main influences and inspirations, which pull ideas shown within craft traditions of both the East and West. These influences are reflected in Gray’s style, showing a clear passion of detail, tactile textures, and extravagant materials such as rare stones, wood, marble and hand-tooled leather. Complex but complementary patterns of dark and light, texture and clear attention shown to the detail that defines her highly unique style. Even while using blacks and whites, Gray is also not afraid

We come across many different cultures and fashion in our society. Some may indicate that the culture influences one’s fashion while others may oppose and state that each aspect stands alone. Fashion and culture fall into the following identity categories: chosen and assigned. Culture affects many parts of an individual, in some cases you can determine an individual 's culture by their speech and clothing; in addition to traditions and the environment in which they were raised. Whereas fashion may be impacted by culture and tradition, but it may also not interact with culture at all.

Alex has successfully created various types of beautifully constructed fashion clothing for around 20 years, along with recent design of glasses for

Marcia Pointon argues that the material practices of making clothing are similar to the production of creating artworks. Supporting her argument, Pointon examines garments that are made by tailors, for the reason that they are made by hand and not mass produced and compares their creation to the handiwork of an artist. Pointon explains that both the tailor and the artist start with cloth and that they both work by fabricating, cutting, meshing, and layering. Describing further, the author notes that both tailors and artist piece together shapes, pay attention to horizontal and vertical lines, must fit the figure on to one rectangular surface, and use outlining to prepare for their creation. Moreover, Dolan relates that both the tailor and the artist both work in fiction.

So far throughout her lifetime, Diane von Furstenberg has won multiple awards for her leadership skills and her contribution to the fashion industry. In 2005, she was awarded the Lifetime Achievement Award from the Council of Fashion Designers of America (CFDA) for her lasting impact on the fashion

Haulman is clear honest when she says that her study in this book is not of clothes and fashion, but of the general pieces of fashion during the time period and how it was used. Haulman explains that fashion “serves as a

Maass talks about how the fashion trends she follows inspires what she chooses to wear.

Fashion has been around ever since ancient times, since the time of the Romans, it survived the world wars and is yet today a business with rapid changes. Fashion started off as an art form, a way for the riches to show their social status with unique and innovative designs that only they could afford. It was a way to separate the social classes of the society. In this paper I will include the creator of haute couture, and how the following designers developed couture, as well as having leading names in today’s ready-to-wear industry. The list is long, but I chose to focus on the three most important designers of the modern fashion industry.

When one considers the term “Art Nouveau,” what comes to mind most immediately is “images of a European-wide invasion [characterized] by the restless dynamism of organic form”(Silverman 1). For me it is usually the work of Alphonse Mucha– his mysterious women surrounded by the beauties of nature. Often my Art Nouveau fantasies take shape in the odd fungal-shaped stained-glass lamps of Tiffany. Or sometimes they surface as the romantic Parisian posters I’ve seen at Pier One, advertising champagne or cats noir or bicycles or the like. But no matter what ones notion may be of what Art Nouveau looks like, there is a feeling that accompanies it that is at the heart of the style’s appeal. It is difficult to define or describe what

In this essay I will account for how the Surrealist movement in art has influenced the progress and growth of fashion worldwide and our sense of appearance. Furthermore, this essay will analyse the influence that surrealism has been having on fashion today.

“Fashion used to come from one source at a time, be it the street, the runways or the entertainment business. The interesting thing about today is that influences come from high and low-everything from couture to Target.” –Michael Kors