Download e-book for iPad: The Fashion Business Theory, Practice, Image by Nicola White, Ian Griffiths

By Nicola White, Ian Griffiths

ISBN-10: 185973359X

ISBN-13: 9781859733592

It is often identified that type is enormous enterprise, but given its worldwide value, little has been written at the phenomenon of the style process. as a substitute, books have tended to target costume heritage, even though lately the self-discipline has taken a extra theoretical flip, with a spate of books showing that study the underlying forces motivating type. This pioneering booklet unites conception and perform to supply an built-in sequence of snapshots taken from diverse views of the style enterprise within the moment 1/2 the 20 th century.

Featuring contributions via best specialists in 3 major components of significant debate in the - the idea and tradition of favor; layout and undefined; and photo and advertising - the ebook might be a necessary reference for college students, practitioners and theoreticians. It addresses such key concerns as: the connection among tradition and garments; the intersection of style and modernity; the origins of glamour; the function of creativity and the facility of layout; the departmental store problem; the age of the pondering dressmaker; retail ideas; and minimalism in type. it truly is guaranteed to be required examining on model classes and in similar disciplines, together with media, cultural and intake studies.

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Extra resources for The Fashion Business Theory, Practice, Image

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Morin, Edgar, Les Stars, Paris: Seuil, 1972, p. 53. 17. Jacobs, Lea, The Wages of Sin: Censorship and the Fallen Woman Film 1928–1942, Madison: University of Wisconsin Press, 1991. 44 Fashion and Glamour Hayworth required considerable art and expertise, and the same talents moulded Norma Jean Baker into Marilyn Monroe. Even Garbo and Dietrich were very ordinary, rather gauche women before being thoroughly reshaped by the studios. The sex appeal of the stars was not an intrinsic feature, although ‘personality’ was a quality the industry regarded as vital to star creation; on the contrary it was a manufactured, artificial phenomenon that the studios conferred on their protegés.

19. See, for example, the ‘old Hollywood’ portraits of present-day actors in Prince, Len, About Glamour, New York: Simon and Schuster, 1998. ’20 To achieve this effect, he employed light, floating materials, posed his subjects lying on their backs or wet, or bathed them in light and shade. Each of the images was heavily worked over and blemishes were eliminated through retouching. Although the typical shots involved women, men were given the same treatment. Lead was put on the negative, sometimes on both sides, or images were improved through dyes and brush work.

The pre-eminence often given 3. Basinger, Jeanine, A Woman’s View: How Hollywood Spoke to Women 1930-1960, London: Chatto and Windus, 1994, p. 137. 4 Glamour’s appeal is by no means limited to top-of-the-range publications. It is equally used by teenage magazines like 17 and 19 and by the in-house magazines of stores like Debenhams and Fenwicks. In these sorts of publications, it is rare to see top fashion models and designer garments. Rather the emphasis is on explaining to ordinary people on average incomes, and teenage girls of limited means, how they can acquire a touch of glamour for a special occasion or a night out.

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The Fashion Business Theory, Practice, Image by Nicola White, Ian Griffiths

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