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twisted bourgeois
Prada aw 10 - In a nod to Alberti’s De Re Aedificatoria, Prada and her collaborator, Rem Koolhaas, envisaged a set that was “an abstraction of a city,” made up of spaces such as a surreal beauty parlour, a music hall made from pink foam, and a “street” strewn with meaningless data. Into this strange world walked an equally strange figure: the Prada woman. Recalling the demureness of Catherine Deneuve in Belle de Jour, this season she was in the guise of a conservative, sixties housewife, with her immaculate beehive, knee-length dresses, and patent loafers. Yet, nothing here was as it seemed. Looking closely, those dresses, with their frilly bustiers and outdated prints, became repellently prim—as did knitted stockings and
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With the show space resembling a laboratory—albeit one decorated in pale green and pink—the clothes appeared to have been thought up by some terribly chic scientist, as they featured impossibly smooth, icing-like fabrics; tweed prints; diagrammatic floral brooches; and reds, blues, and green that looked beyond the abilities of any Italian artisan. Yet, while Prada created this sense of unreal ugliness, it was underscored by a natural prettiness. Those impossible fabrics were actually double-faced jersey, real tweed was mixed with the printed, and those colours were offset by same delicate pastels found on the …show more content…
As a feminist and woman whose work is inherently political, Prada is no exception to this, as was revealed in this show. Removed of all romance, the collection unfolded across a sharply lit, raised catwalk that was surrounded by murals made by various women cartoonists from Italy, Japan, and America. Mirroring the cartoonists’ statements—their work included depictions of assertive, independent women and feminist protest—Prada’s clothes emanated an intelligent toughness, as conveyed by the use of raw screen printing on tailored pieces, the use of heavy tweeds and ferocious animal prints, and by arachnid-like sunglasses. Female spiders eat the
On the twenty-first of August, our Wearable History class took a trip to downtown Bowling Green, to visit Mosaic Confinement Studio. The studio had an old-fashioned vibe, and was like a vintage-garment haven. There, we were asked to choose a piece that we thought was vintage, identify the time period it actually came from, and also take some additional notes on the style and the garment’s details. After searching through multiple racks, the first piece I found was a lace blazer. It turned out to only be vintage-inspired, so I went searching again. I came across a few other pieces, but nothing was really jumping out at me. Eventually, I came across a lavender dress that immediately made me think of Julia Roberts in “Mystic Pizza”, and I knew I found my garment.
Vanitas paintings are two dimensional compositions of symbolic content and iconography. The various objects used in the design of these paintings symbolize the brevity of life, the vanity of wealth and beauty, and the inescapable reality of death. This form of art was developed out of Northern Europe in the mid-16th century and through the 17th century. The word “vanitas” is Latin for “vanity.” Vanitas paintings are designed to remind its viewers of the verse in the Biblical book of Ecclesiastes that says all earthly things are “vanity of vanities, all is vanity.” Artists who painted vanitas wanted their viewers to remember that the wealth, beauty, and achievements that people desire and obtain will pass away and that death is a sure thing. Mortality is the message present in each vanitas painting and each artist expresses this meaning individually with the use of iconography, color, and various techniques.
Although Collette Dinnigan’s style varies slightly from season to season the same philosophy “to produce beautiful pieces that are affordable, wearable, versatile and child friendly” remains constant as does her “passionate feeling for what women want” 2. This is especially evident in her Autumn/Winter 2008 collection ‘Midnight in Moscow’ where Dinnigan implements a more ominous theme making it luxury self-indulgence. The collection is dark with an armoured feel combined with silver hues and dark shades in gladiator-style dresses, girly pleated gowns and military-style jackets. The darkness of these designs contrast heavily with her tr...
Music has played an important part in my life. My love for music comes from my dad. Growing up I remember him having a room full of CDs and instruments that he played daily. The songs varied in genres and the instruments ranged from pianos, violins to drums. I grew up loving almost every style of music so, it is very difficult for me to dislike a song unless, it is vulgar or “dark”.
Perfect: adj. ˈpər-fikt 1. Entirely without any flaws, defects, or shortcomings, is the first definition you find on dictionary.com for the word (perfect). Is this actually possible to attain? Has anyone actually ever been perfect? Or is it all in the eye of the beholder? These questions are asked by almost every girl, as we dream to one day reach the unattainable. This is especially true at the tender age of fifteen, where nothing seems to be going right with our bodies and everything is changing in us. This poem stresses the fact that as everyone realizes how unrealistic this dream is, the knowledge makes no difference to the wish. Marisa de los Santos comments on this in her poem “Perfect Dress”. The use of verbose imagery, metaphors, and the simplistic approach are very effective in portraying the awkward adolescent stage of a young woman and the unrealistic dream of being perfect.
Werle, Simone. Fashionista A Century of Style Icons. New York: G.P. Putnam's Sons, 1977. Print.
The term “The Little Black Dress,” the fragrance “Chanel No. 5,” the Chanel suit with its soft, cardigan-like jacket and skirt, have become part of the timeless fashion vocabulary familiar to us all. From our perspective, these aspects of modern fashion hardly seem revolutionary, but Coco Chanel was a businesswoman who became successful by adopting fashion to the evolving role of women in a rapidly changing wartime society; her vision that left a legacy which endures to this day.
Köln: Taschen, 2006. Print. The. Mackenzie, Mairi. .isms: Understanding Fashion.
Morris, BM, 1996. Valentino: (The Universe of Fashion) . 1st ed. England: London : Thames & Hudson
Simone de Beauvoir, the author of the novel The Second Sex, was a writer and a philosopher as well as a political activist and feminist. She was born in 1908 in Paris, France to an upper-middle class family. Although as a child Beauvoir was extremely religious, mostly due to training from her mother as well as from her education, at the age of fourteen she decided that there was no God, and remained an atheist until she died. While attending her postgraduate school she met Jean Paul Sartre who encouraged her to write a book. In 1949 she wrote her most popular book, The Second Sex. This book would become a powerful guide for modern feminism. Before writing this book de Beauvoir did not believe herself to be a feminist. Originally she believed that “women were largely responsible for much of their own situation”. Eventually her views changed and she began to believe that people were in fact products of their upbringing. Simone de Beauvoir died in Paris in 1986 at the age of 78.
Ryan, N. 2007. Prada and the art of patronage. Fashion Theory: The Journal of Dress, Body & Culture, 11(1), pp. 7-23.
Paul Poiret was born on April 20th, 1879 in Paris, France. His contributions to twentieth-century fashion has earned him the title in many people’s eyes as the “King of Fashion”, because he established the principle of modern dress and created the blueprint of the modern fashion industry. Poiret’s designs and ideas led the direction of modern design history. He was born into a working class family and his natural charisma eventually gained him entry into some of the most exclusive ateliers of the Belle Époque. Jacques Doucet, one of the capital’s most prominent couturiers, hired him after seeing promising sketches he had sold to other dressmakers. Furthermore, he was hired by the House of Worth and was put to work to create less glamorous and more practical, simple items because his out of the ordinary designs were not welcomed in open arms by opulent clientele. Despite this experience he was still confident in his ideas and ventured out on his own with money barrowed from his parents and opened a storefront. Moreover, he wanted to promote of the concept of a "total lifestyle” was seen as the first couturier to merge fashion with interior design. His independent work broke the normal conventions of dressmaking, and overturned their underlying presumptions. He liberated the woman’s body from the petticoat and the corset to allow clothing to follow woman’s natural form. Poiret also radically revolutionized dressmaking to switch from the emphasis surrounding the skills of tailoring towards those based on the skills of draping and began to use bright colors. Furthermore, Poiret was apart of the art deco movement, which was surrounded by a period of immense social upheaval, particularly for women, and emergence of technol...
In the early 1800s, France was the sole fashion capital of the world; everyone who was anyone looked towards Paris for inspiration (DeJean, 35). French fashion authority was not disputed until the late twentieth century when Italy emerged as a major fashion hub (DeJean, 80). During the nineteenth century, mass produced clothing was beginning to be marketed and the appearance of department stores was on the rise (Stearns, 211). High fashion looks were being adapted and sold into “midlevel stores” so that the greater public could have what was once only available to the social elite (DeJean, 38). People were obsessed with expensive fashions; wealthy parents were advised not the let their children run around in expensive clothing. People would wait for children dressed in expensive clothing to walk by and then they would kidnap them and steal their clothes to sell for money (DeJean, 39). Accessories were another obsession of France‘s fashion; they felt no outfit was complete without something like jewelry or a shrug to finish off the look and make it all around polished (DeJean, 61). As designers put lines together, marketing began to become important to fashion in the nineteenth century; fashion plates came into use as a way to show off fashion l...
This essay aims to analyse the key role that the surrealist movement has played on fashion and the fashion industry. Both from a historical point of view, as well as its continued impact on fashion today, as a source of inspiration for contemporary fashion designers.
Fashion takes on many different facets and concerns many subsets— a model sashaying down the runway in a gown encrusted in real gems, Lady Gaga’s infamous dress made of cuts of raw beef, a teenage girl obsessing over the season’s latest styles— it is all an expression of our minds and who we are or want to be, made tangible. It is a medium just like any other, for while artists wield brushes and paints, designers use thread and cloth to illustrate their vision. The artistry is none more so apparent than in the exclusive world of haute couture, a world of extravagance that caters to aesthetics, producing one-of-a-kind wearable masterpieces that are made to be admired rather than worn. It is without doubt, high fashion and its design is an art.