Fashion At The Edge, By Gaby Wood

There have been and still are hundreds of fashion designers in the world. But only a few of them have had any major impact on fashion industry today. And even fewer have revolutionised the fashion industry completely. One of these revolutionaries is the renowned Christian Dior. He reestablished Paris as the centre of the fashion world, and created his name as a symbol of elegance, quality, and modernity. I will be looking into how Dior’s context informed his practice, by using three of his most iconic and popular designs; The Bar Suit, Venus Dress and the Cygne Noir dress. And how these were a direct representation of 1945-1950 France.

The 1920’s fashion was a period of liberation, change, and even more importantly a movement towards the modern era. Fashion in the 1920’s varied throughout the decade but one could see the noticeable change from the previous fashion statements and eras. At the start of the decade, women began emancipating themselves from the constricting fashions by wearing more comfortable apparel. As women gained more rights and World War I forced them to become more independent, flappers came to be, mass-produced garments became available, and artistic movements increased in popularity, one can see how the fashions from the roaring twenties characterized the time and redefined womanhood. (1920s clothing 1)

The fashion industry plays a huge role in portraying bad images of ideal beauty, which in turn affects today’s society perception of their own body image. Not only are women affected by what is seen and heard about how the perfect body should appear, children of young ages are now feeling insecure and obsessed with their bodies before they reach teenage years. This ‘ideal image’ the fashion industry continues to enforce only focuses on very thin models who seem to be in shape and are very healthy. Furthermore, many people think of the influence from the fashion industry as being human representations (models). Because of the rising problem with the image of beauty within the fashion industry, it is shown that even mannequins and non-human representations (mannequins, dolls, photoshopping) of bodies play a significant role in women’s body image; which causes problems to the individual. (Anshutz & Engels, 2010). Body image and self-satisfaction, eating disorders and non-human representations all can cause harm to the individual, if prolonged.

In this essay I want to examine how the corset evolved from a staple of the British feminine wardrobe of the Nineteenth Century into a symbol of an outmoded tradition – only to later return as a statement of female liberation. I am going to look at different aspects of this development including technological advances, economic facts, external events, particularly the First World War and changes in social, political and aesthetic attitudes. I will also look briefly at the role of Chanel on the silhouette and how this impacted on the corset: focusing on the trend to towards ‘opulent androgyny’ in the 1920’s. Finally I will examine the resurgence of the corset

Let’s take a look at the women’s of the 1920’s, the changes that took place in fashion and the roles of women in society. Women’s fashion will be compared from early days up until the 1930’s, with a brief comparison of the roles of women before and after the 1920’s. A discussion of the different avenues that opened up for women after 1920 and the impact that it has had on modern day women will also be covered within this paper. you need a stronger introduction

This essay will explore the effects social and political changes had on fashion in the 1980’s. This period was chosen because the new romantic fashions were so different to the punk fashions that had been before, this essay will therefore identify the changes that had taken place to influence this change. Primary evidence used to support findings will include interviews and photographs which will show a firsthand account of the period.

Many women consider modesty to be an outdated principle founded on legalistic ideas and a promotion of chauvinism. Although this is the prevailing thought within society, it could not be farther from the truth. In “The Look,” a book written by Nancy leigh Demoss, she explains the misconceptions people have about modesty and explains what it truly is: an intentional representation of Christ through every aspect of our lives. I have had a fairly decent view of modesty growing up, and I have always held it in high regards when it comes to clothing, yet I failed to realize that it is a matter of the heart and not just about the clothes that I wear. Demoss’ book has provided me with a new understanding of modesty, as well as how to apply it. Through my reading, the most influential piece of information that I have learned is that God does care about a woman’s modesty in the areas of dress, intent, and appearance.

Bailey, Beth. Sex in the Heartland. Cambridge, Massachusetts, and London, England: Harvard University Press, 1999.

Fashion is everything to society and the media. The fashion industry has transformed into a necessity in the life of people. Everyone wants to look good, feel fabulous and feel as if we belong with everyone else. The envy and desire to wear certain things and look a certain way all come, from wearing the latest fashion handbags, accessories, dresses, shoes, and the list goes on. But, when is considering fashion into an individual’s life going too far to the extreme? Many do not consider the whereabouts of fashion materials and how the environment is affected by the mere existence of certain garments. Some may believe these objects grow on trees. But that is clearly not the case. Even though it would be nice. The fashion industry as a

“BEFOR I CAN TALK TO YOU, PEOPLE SHOW THEIR SEX, AGE, CALSS, POSITION, WITH WHAT THEY ARE WEARING. ALL THIS IS REGISTERED UNCONCIOSLY“ Those words said by Alison Lurie in the language of clothes (1992), reflect perfectly the main point of my research. The society we are now living is an extremely conscious society regarding body image and the way we are presented to the exterior. We found an obsessive trend on wanting to look like celebrities by having certain items or looks and in relation to that a fear of not being percepted the tight way. This is where we found relation to how clothes are part of a conversation we haven 't started and are a form of expression. As there will be explained further on, we use clothes as a sign of our identity,as a way of representing ourselves and stand out from the crowd and also influence on how we appear in front of others making them (clothes) a huge part of our non verbal communication. This essay will discuss the ideas behind self -expression and the role of clothes has changed in that mater thought time.

The fashion industry is rapidly growing and constantly generating new fashion trends almost weekly. Fashion for some may seem ridiculous and unnecessary; but fashion is not just a meaningless usage of article of clothing or farcical materials sew together for coverage. There is more to fashion than meets the eyes, fashion is precious and significant. It is a reflection of self-image, it speak the ream about who we are and how we review ourselves. Not only is fashion the reflection of self-image but also the reflection of our history as Coco Channel have said, “Fashion is not something that exist in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” Fashion

In today’s society, it’s common for people to be labeled or to group themselves based off their hobbies or interests. We all know of common labels like gamers, YouTubers, fashionistas and such that have to do with the popular hobbies of today, but what is a living doll? No, it’s not a doll that’s come to life, nor is it a life-like doll which are also becoming more popular. The Living Dolls in reference, are live people that choose to go above and beyond to achieve a flawless appearance; so much that they look as if they could be dolls themselves. They are considered deviant by most because their aspirations of perfection are usually unrealistic and society often questions the lengths that these people go through to achieve their unique look and lifestyle, in addition to why.

In 1997, Dorothy Ko published an article in the Journal of Women’s History called “The Body as Attire: The Shifting Meanings of Footbinding in Seventeen-Century China”. The article is organized with a brief introduction as to what footbinding is, the negative outlook on this practice due to problematic archives, and then she discusses the examples she gives to support her thesis. Ko’s thesis was “Chinese elite males in the seventeenth century regarded footbinding in three ways: as an expression of Chinese wen civility, as a marker of ethnic boundaries separating Han from Manchu, and as an ornament or embellishment of the body.” Since Ko is a celebrated and established author on women in early East Asia, the article “The Body as Attire: The Shifting Meanings of Footbinding in Seventeen Century China” is an accurate and useful source if one is trying to study that area.

In the 19th century play, FASHION, Anna Mowatt develops the character plot as a contrast and comparison between being “natural” and “artificial in a world becoming preoccupied with fashion, and being fashionable. In the head notes, it was stated that Daniel Havens said FASHION is “the ugly image of the American Dream gone sour.” (Watt and Richardson) Fashion has a complex definition. The word ‘fashion’ can mean anything from the type of clothes you wear, how you communicate with others, the place you live, how you present yourself, or who you associate yourself with. In FASHION, Mowatt took a comical yet sober look at the definitions of “fashion,” applied it to real life in 1845, and through her characters, provides a mirror with which an

Fashion is a form of expression and with its ever changing ideas and trends it explores and creates an array of identities. As Bennett, A. (2005) states “Fashion…provides individuals with a key means through which to manage their identities in the context of everyday life”. I wish to explore how fashion has developed to which identities can be created by oneself and what is around in everyday life and culture that may influence choice in dress. Is fashion a form of agency or structure? I will continue these ideas around gender and in particular fashion photography and how in which gender is represented within the popular mainstream media. Looking at if fashion photography plays a role in challenging gender roles, and therefore creating new ideologies of identity. Or, does fashion photography intertwine with the rest of media in its representation and stereotyping of both genders? Helmut Newton will be used as a case study and the interpretation of his work. This study will also look at the theory behind androgyny and continuing by also looking at dandyism and if these concepts are being constantly played with in the fashion media.