Fashion Style & Popular Culture最新文献_第6页

Structural relationship of Ankara and lace fabrics in Nigeria 尼日利亚安卡拉与蕾丝面料的结构关系

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Fashion Style & Popular Culture Pub Date : 2023-02-08 DOI: 10.1386/fspc_00169_1

Adeola Abiodun Adeoti

引用次数: 0

Ukrainian designers’ market: Consumers’ behaviour caused by the COVID-19 pandemic 乌克兰设计师市场:COVID-19大流行引发的消费者行为

IF 0.2

Fashion Style & Popular Culture Pub Date : 2023-02-08 DOI: 10.1386/fspc_00170_1

A. Ivashchuk, O. Ryzhko, Olena Kutsan

引用次数: 0

The ‘roaring’ twenties and African wildlife in fashionable dress: Part 2: The role of fur patterns in representations of the flapper and the development of sportswear 咆哮的20年代和穿着时尚服装的非洲野生动物:第二部分:毛皮图案在摩登女郎和运动服发展中的作用

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Fashion Style & Popular Culture Pub Date : 2023-01-18 DOI: 10.1386/fspc_00167_1

Susan L. Hannel

引用次数: 1

Futurism on the streets of London 伦敦街头的未来主义

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Fashion Style & Popular Culture Pub Date : 2023-01-18 DOI: 10.1386/fspc_00168_1

David Simonelli

{"title":"Futurism on the streets of London","authors":"David Simonelli","doi":"10.1386/fspc_00168_1","DOIUrl":"https://doi.org/10.1386/fspc_00168_1","url":null,"abstract":"Obvious evidence does not exist linking the Italian Futurists’ conception of men’s fashion in the 1910s and 1920s with the tastes of the Mod subculture in London of the 1950s and 1960s. Yet the aesthetic behind both Futurist fashion and the Mod subculture is strikingly similar and suggests that ideas on style and lifestyle can cross-pollinate each other across decades and countries, given the right circumstances. Both Futurists and Mods wanted to be, as Giacomo Balla put it in a 1913 manifesto, ‘Dynamic/Aggressive/Shocking/Energetic/Violent … [with] Pattern changes […] available by pneumatic dispatch; in this way anyone may change his clothes according to the needs of mood’. London’s Mod subculture came from a directly coincident desire to abandon traditional aesthetics and methods of expression in favour of a constant turnover. The Futurists promoted an artistic movement as a lifestyle, declared in manifestos and acted out in the streets and in politics and that bled into fashion as a manifestation of their ideas, worn literally on their sleeves. The Mods promoted a lifestyle as an art, acted out on the streets, with fashion as the manifestation of their individuality, brought down to the level of the tapering of their pants legs. In both cases, the expression of their lifestyle and values was consciously manifested in the clothes one wore on an everyday basis and connected through the talents of Italian tailors for quick, inexpensive alterations. The similarity suggests an association between Futurism and the Mod subculture, in the appeal of Italian men’s fashion to both groups and demonstrating that certain avant-garde ideals in western art had filtered to the level of the average person over the course of five decades.","PeriodicalId":41621,"journal":{"name":"Fashion Style & Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77818232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The ‘roaring’ twenties and African wildlife in fashionable dress: Part 1: Zebra fur patterns and femininity 咆哮的20年代和穿着时尚服装的非洲野生动物:第一部分:斑马皮图案和女性气质

IF 0.2

Fashion Style & Popular Culture Pub Date : 2023-01-18 DOI: 10.1386/fspc_00166_1

Susan L. Hannel

{"title":"The ‘roaring’ twenties and African wildlife in fashionable dress: Part 1: Zebra fur patterns and femininity","authors":"Susan L. Hannel","doi":"10.1386/fspc_00166_1","DOIUrl":"https://doi.org/10.1386/fspc_00166_1","url":null,"abstract":"The fur and fur patterns of African animals were part of the fashion industry’s exoticization of Africa during the 1920s. Avant-garde interest in African sculpture, African textiles and African jewellery blended with the popularity of jazz music played by African Americans to create a market for fashionable clothing inspired by Africa. Using fur from African animals, and textile prints and embroideries imitating fur patterns, reflected the most consistent interest in Africa. African safaris, world fairs and colonial expositions displaying African animals contributed to African exoticism. Books for children, textile designs illustrating African elephants and examples of fabric dyed colours called ‘lioness’ were some of the resulting consumer products. The graphic fur patterns of leopards, giraffes and zebras perfectly suited the bold geometric aesthetics of the Arts Modernes design style, while the fringe-like quality of monkey fur met the trend requirements for fringed evening wear. Zebra fur and patterns played a feminizing role in mediating the increasingly masculine dress and activities for women. The graphic black-and-white stripes linked the wearer to the exotics and adventure of Africa, while also reflecting contemporary design aesthetics and the hard-edged, chaotic American city. Because the zebra stripe originates on the fur of a peaceful prey animal, the pattern was perceived as graceful and feminine. For the modern women who wanted to participate in the adventures of the era, wearing zebra stripes tempered the interpretation of her wild life in the American urban jungle without compromising her femininity.","PeriodicalId":41621,"journal":{"name":"Fashion Style & Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88518135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The nuances of sizing for stouts in the early twentieth century 20世纪初黑啤酒的大小差别

IF 0.2

Fashion Style & Popular Culture Pub Date : 2023-01-17 DOI: 10.1386/fspc_00164_1

C. Keist, L. Mally

引用次数: 0

Breaking cover: Plus-size transgressive dress on YouTube 突破封面:YouTube上的大码越界连衣裙

Fashion Style & Popular Culture Pub Date : 2023-01-11 DOI: 10.1386/fspc_00165_1

Arienne McCracken, Mary Lynn Damhorst, Eulanda A. Sanders

{"title":"Breaking cover: Plus-size transgressive dress on YouTube","authors":"Arienne McCracken, Mary Lynn Damhorst, Eulanda A. Sanders","doi":"10.1386/fspc_00165_1","DOIUrl":"https://doi.org/10.1386/fspc_00165_1","url":null,"abstract":"Non-stigmatizing depictions of plus-size lovers of fashion are not easily found in traditional mass media, but in social media, fat fashion enthusiasts can readily be found. The purpose of this study was to investigate the little-studied phenomenon of plus-size YouTube content creators who make videos about fat fashion. To that end, thirteen individuals who wear plus-size women’s apparel took part in semi-structured interviews. A major theme found in the data analysis was transgression. Interview participants were staunch advocates of breaking discriminatory, unspoken societal rules that constrained them, especially in relation to dress. Three subthemes were found in relation to transgression: visibility, representation and agency. Embracing visibility, as seen in interviewees’ performance of fatness in public and in social media, may help to portray fatness as a human characteristic that is just as ‘normal’ as thinness. Serving as a positive role model to others was also embraced by participants, who hoped to assist their viewers in dealing with the consequences of living in the fatphobic US culture. The interviewees demonstrated and promoted agency through fashion, in marked contrast to their past experiences of being powerless and disparaged because of their size. Through celebration of mainstream, conforming fashion, the fat fashion vloggers are transgressive by joyfully wearing styles which previously were discouraged or often unavailable for plus-size consumers.","PeriodicalId":41621,"journal":{"name":"Fashion Style & Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136212416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Flaunting fat and sharing fashion: A multimodal analysis of how two Black fatshion influencers resist weight stigma on Instagram 秀胖和分享时尚:对两位黑人时尚影响者如何在Instagram上抵制体重歧视的多模式分析

IF 0.2

Fashion Style & Popular Culture Pub Date : 2023-01-11 DOI: 10.1386/fspc_00163_1

Kaitlyn A. McIntosh, Davina M. DesRoches

引用次数: 0

From Marlene to Conchita and Kim: Gender performativities and iconicity in ‘naked’ dresses 从玛琳到康奇塔再到金姆:“裸体”服装中的性别表现和标志性

IF 0.2

Fashion Style & Popular Culture Pub Date : 2022-12-13 DOI: 10.1386/fspc_00161_1

Lara Maleen Kipp

{"title":"From Marlene to Conchita and Kim: Gender performativities and iconicity in ‘naked’ dresses","authors":"Lara Maleen Kipp","doi":"10.1386/fspc_00161_1","DOIUrl":"https://doi.org/10.1386/fspc_00161_1","url":null,"abstract":"This article presents a whistle-stop tour through fashion history from Marlene Dietrich to Conchita Wurst and beyond, illustrating the complex iconicity of ‘naked’ dresses, also referred to as ‘nude illusion’ dresses. It interrogates notions of selfhood and performativity in relation to gender and celebrity. The article utilizes the embellished costumes made by Jean Louis for Marlene Dietrich as a starting point to explore the recurring image of a celebrity clad seemingly in nothing but rhinestones, sequins or similar embellishments. By providing an overview of notable instances of such ‘naked’ dresses, the article explores the accumulation of meaning through historical reference points ranging from the 1950s to the 2020s. In particular, it analyses images of femininity and desirability as evoked through these particular garments. The seeming exposure of the desirable body is set in relation to the careful construction of the image which brings together vulnerability and apparent truthfulness through the specific nature of the garment. The article explores how seemingly ‘baring it all’ is a carefully orchestrated performance with a long history and subversive potential.","PeriodicalId":41621,"journal":{"name":"Fashion Style & Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85268574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Is fashion stupid? Ironic representations of fashion in popular Hollywood films 时尚愚蠢吗?好莱坞流行电影中对时尚的讽刺表现

IF 0.2

Fashion Style & Popular Culture Pub Date : 2022-12-09 DOI: 10.1386/fspc_00162_1

Kristina Stankevičiūtė, Pietari Kääpä

{"title":"Is fashion stupid? Ironic representations of fashion in popular Hollywood films","authors":"Kristina Stankevičiūtė, Pietari Kääpä","doi":"10.1386/fspc_00162_1","DOIUrl":"https://doi.org/10.1386/fspc_00162_1","url":null,"abstract":"Popular culture, especially cinema, tends to view the world of fashion from a distance, often in admiration but mixed with feelings of incomprehension, perplexion and even derision. The current article will analyse the films Pret-à-Porter (), Zoolander () and The Devil Wears Prada () as expressions of general approaches to the fashion industry in the comedy film genre. As high profile films, they embody a pattern of representation endemic to film comedy at the turn of the 1990s and 2000s and emphasize a frivolous, ironic attitude to the superficial and exploitative nature of the fashion industry, reflecting a wider sense of postmodernist cultural critique in American cinema of the shallowness of commercialism and pop culture (while, ironically, being part of precisely the same system as the target of its critique). By conducting narrative analysis of these films, we will show how they use stereotyping as a mechanism to satirize the fashion industry, creating superficial flashes of ridiculous behaviour and excessiveness, while they reinforce these approaches themselves through the use of genre and aesthetic conventions. In doing so, the films highlight the idea that fashion, as a form of popular culture, functions as an exemplary locus of cultural critique to satirize hyper-consumption and hyper-commercialism. As these films evoke wider questions about the concept of irony within and towards fashion, the chapter is a part of a larger project on the theme of fashion irony that aims at defining it as a field of academic study.","PeriodicalId":41621,"journal":{"name":"Fashion Style & Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84475278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0