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This book chronicles the story of modern fashion from couture to mass market. The 20th century saw fashion evolve from an exclusive Parisian salon business catering to a wealthy elite, into a global industry employing millions, with new trends whisked into stores before the last model has left the catwalk. Along the way, the signature feminine silhouettes of each era evolved beyond recognition: House of Worth crinolines gave way to Vionnet's bias-cut gowns, Dior's New Look to Quant's Chelsea Look, Halston's white suit to Frankie B.'s low-rise jeans. In menswear, ready-made suits signaled the demise of bespoke tailoring, long before Hawaiian shirts, skinny ties or baggy pants entered the fore. This book offers a stylish retrospective of the last hundred years, via 400 fashion advertisements from the Jim Heimann Collection. Using imagery culled from a century of advertising, this book documents the unrelenting pace of fashion as it was adopted into the mass culture, decade by decade. An in-depth introduction, chapter text, and illustrated timeline detail the style-makers and trend-setters, from couture to the mass market; and how the historic events, design houses, retailers, films, magazines, and celebrities shaped the way we dressed then and now

An experiment was conducted in which M Coll S's were either deliberately angered by one of the 2 experimenters or were treated in a neutral fashion by him & then were shown either an aggressive prize fight scene or an equally-long neutral scene. 50% of the men seeing the prize fight were led to believe the aggression they witnessed was `justified,' while the others were made to think the aggression was `less justified.' The findings agree with those in an earlier study by Berkowitz & Rawlings, in indicating that film violence may well increase the probability that people in the audience will behave aggressively in a later situation (soon afterwards), particularly if the film violence appears morally justified. The justified fantasy aggression apparently weakens restraints against hostility in angered audience members. L. Berkowitz.

Discothèques, fuelled by sexual liberation (both gay and straight), influenced fashion, music, nightlife entertainment, dancing and society for several years during the 1970s. New York City (NYC) was the epicentre of the disco scene. Sexual freedoms, fuelled by the birth control pill and the repeal of laws in NYC against same-sex dancing, played out in the hedonistic disco venues, the most infamous, Studio 54. The 1977 film, Saturday Night Fever, inspired by the popularity of disco dancing in New York, introduced the dance phenomena to the world, spawning a slew of copycats. The fashion world took notice and disco looks filled the runways and fashion magazines. Part of this new freedom was embodied in recently developed synthetic fabrics that promised easy care, brilliant colour and fluid movement. Disco's downfall was precipitated by the advent of the HIV/AIDS epidemic that threatened both homosexual and heterosexual sexual expression, coinciding with a backlash orchestrated by rock and roll fans. The fashion world in turn revolted against synthetic fabrics, claiming that natural fibres were chic and polyester was cheap. Disco came to a crashing halt in the early 1980s as these social factors, coupled with the 'death to disco' campaign, orchestrated by rock music radio stations, ended the short-lived era.

This edited book brings together new perspectives on fashion, the body, and politics. The intention of this collection is to explore the cultural intersection between bodies, fashion, and transgression, often in the most unlikely of locations. Bodies are political players in culture and the authors gathered here ask a range of pressing questions. What role do fashioned bodies play in resistance, in meeting governmental boundaries or institutional power? Arguably, fashion is an aspect of modern warfare and style can defend and attack in cultural space. So, how do fashioned bodies occupy the grey area between social control and the resistance to power? This book is interdisciplinary and international, with contributors situated within a broad range of disciplines including Art History and Critical Practice, Cultural Studies, Fashion Critical Studies, Film and Literary Studies, Performance Studies, Politics and International Studies, Sociology, Gender, Queer, LGBTI, and Critical Race Studies. Royce Mahawatte is Senior Lecturer in Cultural Studies at Central Saint Martins, University of the Arts London and a member of the faculty at NYU London, UK. He is the author of George Eliot and the Gothic Novel (2013) and has published journal articles in Womens Writing and Sexualities, and the chapters Fashion and Adornment in A Cultural History of Hair (2018) and 'The Sad Fortunes of Stylish Things: George Eliot and the Languages of Fashion' in Communicating Transcultural Fashion Narratives (2018). He is also Director of Research at the think tank Fashion Roundtable, and during 2020-2021 was a Heinz Heinen Fellow at the Centre for Dependency and Slavery Studies, University of Bonn, Germany. Jacki Willson is Associate Professor in Performance and Gender in the School of Performance and Cultural Industries at the University of Leeds, UK. She has published two monographs The Happy Stripper: Pleasure and Politics of the New Burlesque (2008) and Being Gorgeous: Feminism, Sexuality and the Pleasures of the Visual (2015) and one edited collection, Revisiting the Gaze: The Fashioned Body and the Politics of Looking (2020). She is Principal Investigator of a three-year AHRC-funded project, Fabulous Femininities: Extravagant Costume and Transformative Thresholds (2020-).

Costume designers collaborate with film directors to bring the characters in the script to life. Film costumes are a visual tool of a narrative nature with which costume designers meet the diegetic needs of each story. Through clothing, they make internal aspects of the characters visible, such as their transformations, their nature and styles, their passions, aspirations and suffering, as well as aspects of the spatial, temporal and social context in which the stories take place. This study explores costume design by Ruth E. Carter as a dramatic tool in the biopic Malcolm X (1992), directed by Spike Lee. To that end, the function of film costumes is assessed both as a visual and narrative tool that exceeds the aesthetic dimension and is essential to give meaning to any film production.

ESRC funded this project explores how energy and fashion retailers face the common challenge of encouraging the reduced consumption of a saleable product in order to promote sustainability and conform to existing and emerging legislation, while simultaneously maintaining growth and financial prosperity. Energy retailers are experienced in such practices having been legally required to promote energy-efficiency to consumers for some years. This is paired with a growing recognition among fashion retailers of the need to engage in activities that help to promote sustainable consumption among consumers. An installation took place in Feb 2014 in Leeds, inviting the public to visit the TRANSFER factory and chat with a specialist team who asked a series of questions derived from their research about shopping habits. Answers to the questions directly informed how the participants T-Shirt was manufactured, from the colour to the pattern and print. At the end of the interview a personalised manufacturing docket was passed to a group of skilled makers and machinists. The interviewee was then be able to watch their T-Shirt being brought to life by the team. Each garment was a unique money can't buy item to their exact specifications. Each shopper to visit the exhibition was invited to be photographed for the project and asked what shopping and style means to them. A project website has been created, as well as animations and films. In September 2015 the project film & animation was launched (http://www.project-transfer.com/public-engagement-impact/). Two further films sharing the process behind the project and the public response to the work were published in April 2016 (https://www.youtube.com/watch?v=IwtkLB-G-BQ and https://www.youtube.com/watch?v=FBZ0B8QmGBc). Principal Investigator: Christopher Jones (Psychology, University of Sheffield) Co-Investigators: Lenny Koh (Management, Sheffield); Helen Storey, Alex McIntosh, Professor Dilys Williams (University of the Arts London)

The article is devoted to the problem of the studying of fashion and protests in the modern society.Within the work some classical and modern theoretical methods of the regarding of protests and the forms of their realization are viewed. It is stated that in the most cases a protest is studied with the observing of either common behavior or actions, public or social movements, or various ways of political involving and participating.Also, there the terms of 'political participating' and 'political protest' are differentiated in the modern political discourse.As a matter of fact, in the article it is proposed to consider 'fashion' as a complicated structured phenomena that, on one hand, is an innovation (an individualization) and, on the other hand, an inheritance (a massif dissemination, a social equalization).Likewise, there are analyzed possible variations of cooperation between fashion and protests under conditions of the progressing mobility. Hence, it is decided that fashion stimulates participants of actual protests and, at the same time, expands their number with so-called 'passive component'. For example, the black color has united the most spectacular representatives of the cinema regarding one problem that is connected with the Golden Globe Film Festival. However, such a massif dissemination of the black dress-code could have made all the guests of the festival accept the common idea.So, it is concluded that the dissemination of protests causes the appearance of legitimate social movements and organizations, as well as destructive modes of common behavior. In the light of above mentioned, it should be stressed that teenagers are in the group of the most possible risk who are very active participants of meetings, tumults that provoke the spreading of antisocial behavior in the society.In addition, in the article is proclaimed the idea that the cooperation between fashion and protests in the modern mobile society is presented by two variants. They are 'fashion in protests' that is characterized by the presence of fashion symbols in any protest and 'fashion problems' that occur constantly.As for the first variant, a certain list of examples can be proposed: individual demarches, group and collective actions that expect their popularization in the entire society (or, at least, in some of its parts). Protest practices prove that this popularization is based on the transformed classical scheme of the existence and functioning of culture in the society (for example, the appearance of fashion symbols such as the orange color during the events in Ukraine in 2004).As for the second variant, we can suggest as an example the fact that at the end of the XXth century and at the beginning of the XXIst century were widely discussed problems of humans` and parents` rights, the support of healthy life style and etc. For this reason, there were the Movement for humans` rights, the Movement for parents` rights, the Life Without Drogues Movement, the Eco Food Movement and many others.

In 1934, textiles woven with strips of glittering cellophane were the pinnacle of high fashion. This trend has been credited mainly to Elsa Schiaparelli, who worked closely with the French textile manufacturer, Colcombet, to produce some of the most notable textiles of the early 1930s. While Schiaparelli was undeniably prominent in the promotion of cellophane fashions, she was one of many designers utilizing textiles woven with slit cellulose film during this period. The cellophane fashions produced by Schiaparelli and her peers were startling in their modernity and emblematic of the 'strange glamour' worn by some of the best-dressed women of the early 1930s. Cellophane fashions were promoted by the French couturiers throughout 1934 and quickly embraced by the American fashion industry. However, despite this initial enthusiasm, the cellophane fashion trend soon subsided as the artistic and intellectual associations of cellophane fashions were replaced with those of practicality and thrift.

Launched at the Photo Club de Paris in 1907, the Autochrome process invented by the Lumière brothers was the only photographic medium that reproduced colours truthfully until the late 1920s: once exposed the glass plate positives could not be retouched or manipulated in any way. Compared to hand-coloured film, photographs or crude lithography in print media, the authentic representation of the colour of clothes in autochromes comes as a revelation, as does the beauty of the images themselves. Hitherto seldom referenced by dress historians, autochromes have been neglected by scholars and curators because of the difficulties of storage, handling and reproduction, yet from their invention until the introduction of colour film c1930, they were widely used by amateurs and commercial photographers, therefore they are invaluable for the authentication of colour in dress during this period. Of an estimated 20 million plates manufactured by the Lumières, approximately 4 million are thought to have survived. This paper explored the potential of the autochrome as a source of visual evidence for dress historians during World War 1, by exploring the Archives de la Planète, created by French millionaire industrialist, Albert Kahn (1860-1940), whose pacifist beliefs lead him to equip a team of photographers, both professional and untrained, with this latest technology. Kahn's autochromistes were commissioned to record the daily lives of the people they encountered in fifty countries across the world, particularly those whose cultures he anticipated would soon be under threat from the consequences of political and social turmoil in the early twentieth century. The Archives de la Planète, now comprising 72,000 autochromes, 4,000 black and white photographs and 120 hours of moving film footage is housed in the Musée Albert Kahn, his former home just outside Paris. Digitization of the collection is ongoing today. The Kahn autochromes show the dress of many people and cultures across the world from the West of Ireland to China and Japan in the years immediately before the outbreak of the War. His photographers also recorded the French troops during the conflict and the daily lives of local working people as well as celebrations such as victory parade in London in 1919. Folk dress, army uniform and working dress are well-represented, in addition to some images of fashionable dress worn by visitors to Kahn's villa in the south of France and to his Paris mansion. Autochromes from other collections, such as those taken by Lionel de Rothschild and those in the National Media Museum, London and Bradford may also be referenced.

Los Angeles is undergoing a makeover. Leaving behind its image as all freeways and suburbs, sunshine and noir, it is reinventing itself for the twenty-first century as a walkable, pedestrian friendly, ecologically healthy, and global urban hotspot of fashion and style, while driving initiatives to rejuvenate its downtown core, public spaces, and ethnic neighborhoods. By providing a locational history of Los Angeles fashion and style mythologies through the lens of institutions such as manufacturing, museums, and designers and readings of contemporary film, literature and new media, L.A. Chic provides an in-depth analysis of the social changes, urban processes, desires, and politics that inform how the good life is being re-imagined in Los Angeles. Throughout the book, Susan Ingram and Markus Reisenleitner dig up submerged and marginalized elements of the city's cultural history but also tap into the global circuits of urban affect that are being mobilized for promoting L.A. as an example for the global, multi-ethnic city of the future. Engagingly written, highly visual, and featuring numerous photographs throughout, L.A. Chic will appeal to any culturally inclined reader with an interest in Los Angeles, its cultural history, and modern urban style

Always keen on the spectators' freedom of interpretation, André Bazin's film theory not only asks the famous question "What is cinema?," but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin's "anti-anthropocentric" ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema's ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin's emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic's metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema's lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera's fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas. ; Always keen on the spectators' freedom of interpretation, André Bazin's film theory not only asks the famous question "What is cinema?," but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin's "anti-anthropocentric" ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema's ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin's emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic's metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema's lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera's fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.

Addressing topics in the history and sociology of fashion, film, food, popular music, sports, masculinity, youth subcultures, and the politics of consumption, Making Italian America explores consumer culture in Italian American history and life, the role of consumption in the production of ethnic identities, and the commodification of cultural difference.

The volume at hand collects the papers given at a conference at Salzburg University in October 2013 on the topic of Soviet fashion from the Thaw until the beginning of the Perestroika. Divided into the three sections "Socialist Fashion", "Fashion and Society", and "Fashion and the Arts" the contributions cover a wide range of different aspects, such as the history of fashion, the culture of consumption, aspects of economy, and vestimental codes in film and literature. At the centre of this volume thus lies the everyday culture with its implicit gender structures, and issues of transfer, in particular of Western fashion. Focusing on material culture thus the potential of fashion and fashion practices to transform the norms of Soviet society come to the fore