scholarly journals Interwar Lviv fashion designer, fashion editor and columnist Elia Olesnytska: materials for biography

2021 ◽  
pp. 250-269
Author(s):  
Khrystyna Astaptseva ◽  
Keyword(s):  
Fashion Designer

GA: Armani’s Giorgio Armani

2018 ◽  
Author(s):  
Paul Brooker ◽  
Margaret Hayward
Keyword(s):  
Final Section ◽  
The Body ◽  
Body Shop ◽  
The Third ◽  
Haute Couture ◽  
Fashion Designer ◽  
The Body Shop ◽  
The Uk ◽  
Career Woman

The Armani high-fashion example illustrates the importance of adaptive rational methods in his founding and developing of an iconic high-fashion firm. Armani adapted stylistically to fashion’s new times in the 1970–80s by creating a new style catering for the career woman. His stylistic adaptation is compared with that of another famous Italian fashion designer, Versace, who instead modernized haute couture fashion and created a succession of glamourous styles. Both leaders exploited the same opportunity but in different ways. The third section compares these leaders’ legacies in the 1990s–2000s and assesses from a long-term perspective how capably they had used adaptive rational methods. The final section shifts the focus from fashion to the cosmetics industry and from Italy to the UK. Anita Roddick used adaptive rational methods to establish The Body Shop corporation in the 1970s–80s. However, she then abandoned rational methods with dire results for her corporation in the 1990s.

Storytelling and Meaning in Fashion Designer Documentary

2021 ◽  
Vol 30 (5) ◽  
pp. 819-836
Author(s):  
Sun Young Kim
Keyword(s):  
Fashion Designer

scholarly journals Being a Fashion Designer in Montreal: Flexible Careers across the Life Course!

2016 ◽  
Vol 04 (03) ◽  
pp. 215-226 ◽  
Author(s):  
Amina Yagoubi ◽  
Diane-Gabrielle Tremblay
Keyword(s):  
Life Course ◽  
Fashion Designer ◽  
The Life Course

scholarly journals Analisis Fungsi Pakaian Karnaval di Yogyakarta Menurut Roland Barthes dan Fungsi Seni Edmund Burke Felmand

Humaniora ◽  
2015 ◽  
Vol 6 (3) ◽  
pp. 418
Author(s):  
Deni Setiawan ◽  
Timbul Haryono ◽  
M. Agus Burhan
Keyword(s):  
Roland Barthes ◽  
Edmund Burke ◽  
Communication Tool ◽  
Utility Value ◽  
Communication Tools ◽  
Community Culture ◽  
Cultural Conditions ◽  
Sources Of Knowledge ◽  
Fashion Designer ◽  
The Common

Carnival clothing is one form of artists’ creativities in fine art, created in various functions. Those functions are viewed based on utility value and the purpose that consistently are embedded in an art work. In addition, several functions of carnival clothing were constructed on the basis of social and cultural conditions that are effective in a certain place. Each and every type of clothing raises perception to everyone else who sees it. Promotion of fashion style and industry through carnival clothing results in diverse perceptions acceptable to the viewers. Audience’s perceptions are also not apart from the key functions, social ones, and the physical ones of those carnival clothings themselves. Those three functions are the common ones of each art work created as communication tool with everyone else. The carnival clothings are communication tools of the fashion designer to the customers, communication between one customer and another one. On the carnival clothing there are also sources of knowledge science, history, technology, and many other explainable meanings. Through carnival clothings, the detectable issues in physical and non-physical structures are identifiable as well as they play role as the space to make more exploration on the dynamics of a community culture. This article aims to answer the functions of carnival clothing, using aesthetic approach, through the theory of clothing functions Roland Barthes and Edmund Burke Feldman’s art functions. 

Jeff Banks CBE — International Fashion Designer

2014 ◽  
pp. 154-161
Author(s):  
Brian Claridge ◽  
Cary L. Cooper
Keyword(s):  
Fashion Designer

Schiaparelli, Elsa (1890–1973)

2018 ◽  
Author(s):  
Gertrud Lehnert
Keyword(s):  
New York ◽  
Avant Garde ◽  
Fashion Designer

Elsa Luisa Maria Schiaparelli was an avant-garde fashion designer extremely influential in the 1930s. Born in Rome into a well-to-do family, an early mésalliance with William de Wendt de Kerlo forced her to live in poverty in London and New York until she moved to Paris where she met avant-garde artists and—without ever having learned to sew—began her career in fashion. In contrast to Coco Chanel’s modernist simplicity, Schiaparelli indulged in aesthetic exaggerations and a profusion of fantastic decorations such as luxurious embroideries (realized by François Lesage, 1929–2011), often inspired by surrealist art.

“I Still Don’t Understand Award Shows”

2018 ◽  
Author(s):  
Tara Colley
Keyword(s):  
Subject Matter ◽  
Hip Hop ◽  
American Culture ◽  
Reality Television ◽  
Racial Microaggressions ◽  
The Public ◽  
Fashion Designer ◽  
Changing Role

This chapter examines the evolution of the rapper, producer, fashion designer, and reluctant reality television personality Kanye West. An artist whose subject matter addresses personal anxieties and self-doubt in ways seldom seen in mainstream rap, West engages fame and celebrity in conflicting and often incongruous ways. Through the amateur creation and distribution of memes, gifs, hashtags, and other “viral” cultural articles, the public plays an unprecedented role in the construction—and destruction—of celebrity. Exploitation of this process, in which West consciously engages, constitutes a unique enactment of celebrity work. West’s interaction with the notion of celebrity—as an antihero, an activist, and an icon—speaks both to the changing role of hip hop in mainstream American culture and to the ongoing racial microaggressions of “post-race” America toward influential black celebrity.

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