Elizabeth Castaldo Lundén
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474461801
- eISBN:
- 9781399501576
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474461801.001.0001
- Subject:
- Film, Television and Radio, Film
The Academy Awards’ red-carpet is the most prominent fashion show in media culture. This book investigates the historical liaison between Hollywood and fashion institutions to describe how public ...
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The Academy Awards’ red-carpet is the most prominent fashion show in media culture. This book investigates the historical liaison between Hollywood and fashion institutions to describe how public relations campaigns and the media articulated fashion discourses around the Oscars throughout history. It argues that the fashion industry’s business model of celebrity endorsement and renowned designers as branded labels is based on the triangulation done by Hollywood studios, department stores, and American garment manufacturers during the interwar era. Departing from archival sources, and tracing discourses of fashion, stardom, and celebrity around Hollywood and the Oscars, this study unravels this phenomenon’s cultural, political and economic impact, explaining how the Academy Awards’ red-carpet became a marquee for the global endorsement of high-end fashion brands.
The book addresses globalisation as a central topic to frame the red-carpet phenomenon, linking the fashion and media industries throughout the 20th Century. It points at the postwar as a historical turning point that consolidated the position of the United States as a veritable behemoth exporter of popular culture, depicting the American lifestyle as synonymous with wealth and comfort to further the global expansion of consumer culture. The book identifies power shift towards television, the emergence of celebrity culture, the post-war reactivation of transatlantic trade, the growth of fashion journalism, and the increasing circulation of designer names in the media as a series of converging factors that led to the institutionalisation of the red-carpet parade as a fashion event in its own right.Less
The Academy Awards’ red-carpet is the most prominent fashion show in media culture. This book investigates the historical liaison between Hollywood and fashion institutions to describe how public relations campaigns and the media articulated fashion discourses around the Oscars throughout history. It argues that the fashion industry’s business model of celebrity endorsement and renowned designers as branded labels is based on the triangulation done by Hollywood studios, department stores, and American garment manufacturers during the interwar era. Departing from archival sources, and tracing discourses of fashion, stardom, and celebrity around Hollywood and the Oscars, this study unravels this phenomenon’s cultural, political and economic impact, explaining how the Academy Awards’ red-carpet became a marquee for the global endorsement of high-end fashion brands.
The book addresses globalisation as a central topic to frame the red-carpet phenomenon, linking the fashion and media industries throughout the 20th Century. It points at the postwar as a historical turning point that consolidated the position of the United States as a veritable behemoth exporter of popular culture, depicting the American lifestyle as synonymous with wealth and comfort to further the global expansion of consumer culture. The book identifies power shift towards television, the emergence of celebrity culture, the post-war reactivation of transatlantic trade, the growth of fashion journalism, and the increasing circulation of designer names in the media as a series of converging factors that led to the institutionalisation of the red-carpet parade as a fashion event in its own right.
Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.001.0001
- Subject:
- Art, Art History
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 ...
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Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.Less
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
Felicity Chaplin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781526109538
- eISBN:
- 9781526128263
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526109538.001.0001
- Subject:
- Film, Television and Radio, Film
While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in ...
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While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in cinema. This book is an attempt to address this gap in scholarship by examining the figure of la Parisienne in cinema.
The approach of this book is threefold: textual (the films), contextual (the history of the representations of the Parisienne type), and intertextual (the relationship between the films and other texts such as novels and paintings, extending to the star persona of the actress). However the overarching methodology of this book is iconographical, tracing the historical prefigurations of la Parisienne in the art, literature, and mass culture of nineteenth-century France.
The findings of this book are both general (la Parisienne as a cultural type) and specific (la Parisienne as a she appears in different films). La Parisienne can be defined as a figure of French modernity, understood both in its technological and cultural sense, and is recognisable in terms of six interconnected categories: art, cosmopolitanism, fashion, danger, prostitution, and stardom.
These categories reveal the way the Parisienne type is constantly evolving while at the same time possessing a set of recognisable motifs. By connecting the films discussed in this book to a cultural tradition to which they may not at first appear to belong, this book not only enriches our understanding of these films, it also offers new analytical and interpretative perspectives.Less
While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in cinema. This book is an attempt to address this gap in scholarship by examining the figure of la Parisienne in cinema.
The approach of this book is threefold: textual (the films), contextual (the history of the representations of the Parisienne type), and intertextual (the relationship between the films and other texts such as novels and paintings, extending to the star persona of the actress). However the overarching methodology of this book is iconographical, tracing the historical prefigurations of la Parisienne in the art, literature, and mass culture of nineteenth-century France.
The findings of this book are both general (la Parisienne as a cultural type) and specific (la Parisienne as a she appears in different films). La Parisienne can be defined as a figure of French modernity, understood both in its technological and cultural sense, and is recognisable in terms of six interconnected categories: art, cosmopolitanism, fashion, danger, prostitution, and stardom.
These categories reveal the way the Parisienne type is constantly evolving while at the same time possessing a set of recognisable motifs. By connecting the films discussed in this book to a cultural tradition to which they may not at first appear to belong, this book not only enriches our understanding of these films, it also offers new analytical and interpretative perspectives.
Elizabeth Castaldo Lundén
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474461801
- eISBN:
- 9781399501576
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474461801.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter provides the context for introducing the first Academy Awards banquet, explaining the commercial liaisons between the fashion and film industries that put Hollywood costume designers in ...
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This chapter provides the context for introducing the first Academy Awards banquet, explaining the commercial liaisons between the fashion and film industries that put Hollywood costume designers in the limelight as the foremost exponents of American fashion during the interwar years. In doing so, the book coins the term Hollywood Designers to distinguish those first costume designers who were trained in fashion and worked actively in the industry before and after their positions in the Hollywood studios’ costume departments. The chapter draws a parallel between the conformation of American fashion and film institutions by looking at the politics behind the creation of the Academy of Motion Picture Arts and Sciences and The Fashion Group.Less
This chapter provides the context for introducing the first Academy Awards banquet, explaining the commercial liaisons between the fashion and film industries that put Hollywood costume designers in the limelight as the foremost exponents of American fashion during the interwar years. In doing so, the book coins the term Hollywood Designers to distinguish those first costume designers who were trained in fashion and worked actively in the industry before and after their positions in the Hollywood studios’ costume departments. The chapter draws a parallel between the conformation of American fashion and film institutions by looking at the politics behind the creation of the Academy of Motion Picture Arts and Sciences and The Fashion Group.
Elizabeth Castaldo Lundén
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474461801
- eISBN:
- 9781399501576
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474461801.003.0006
- Subject:
- Film, Television and Radio, Film
In this chapter, fashion comes to the forefront to understand how the event was branded as an ‘international fashion show free for all’ as part of the promotional strategies to sell the first ...
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In this chapter, fashion comes to the forefront to understand how the event was branded as an ‘international fashion show free for all’ as part of the promotional strategies to sell the first broadcast of an Oscar ceremony (Oscarcast). It explains how the Academy created the fashion consultant position for the ceremony, presided then by Hollywood costume designer Edith Head, and its impact in structuring fashion around the ceremony. It also delves into the first televised fashion pre-show, known as Oscar Night in Hollywood (NBC, 1960), sponsored by Procter & Gamble.Less
In this chapter, fashion comes to the forefront to understand how the event was branded as an ‘international fashion show free for all’ as part of the promotional strategies to sell the first broadcast of an Oscar ceremony (Oscarcast). It explains how the Academy created the fashion consultant position for the ceremony, presided then by Hollywood costume designer Edith Head, and its impact in structuring fashion around the ceremony. It also delves into the first televised fashion pre-show, known as Oscar Night in Hollywood (NBC, 1960), sponsored by Procter & Gamble.
Canter Brown and Larry Eugene Rivers
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813061146
- eISBN:
- 9780813051420
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061146.003.0014
- Subject:
- Literature, 19th-century and Victorian Literature
The afterword summarizes the high points of Mary Edwards Bryan’s life from the 1880 publication of Manch until her death at Clarkston, Georgia, in 1913. The authors assess the impact upon Mary of a ...
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The afterword summarizes the high points of Mary Edwards Bryan’s life from the 1880 publication of Manch until her death at Clarkston, Georgia, in 1913. The authors assess the impact upon Mary of a series of suicides and natural deaths among close friends and relations and her subsequent determination to depart the South for New York. Detailing her prodigious writing and editing accomplishments and attendant celebrity in New York and Atlanta, the authors treat publisher George Munro (later George Munro's Sons) and his Fireside Companion and New York Monthly Fashion Bazar, John Seals and The Sunny South, and Joel Chandler Harris and Uncle Remus's Magazine. The authors note Mary's increasing lack of satisfaction with her own writing product, particularly underscoring the relative lack of success she enjoyed with her second novel Wild Work, which attempted objective treatment of the Coushatta Massacre. They also observe details of Bryan's personal and family life, the persistence of scandal in her social interactions, and the death of husband Iredell while evaluating the circumstances and importance of her effort to return to Florida for winters at the Indian River resort town, Coquina. Mary’s biography closes on details of her death and discussion of her professional legacies.Less
The afterword summarizes the high points of Mary Edwards Bryan’s life from the 1880 publication of Manch until her death at Clarkston, Georgia, in 1913. The authors assess the impact upon Mary of a series of suicides and natural deaths among close friends and relations and her subsequent determination to depart the South for New York. Detailing her prodigious writing and editing accomplishments and attendant celebrity in New York and Atlanta, the authors treat publisher George Munro (later George Munro's Sons) and his Fireside Companion and New York Monthly Fashion Bazar, John Seals and The Sunny South, and Joel Chandler Harris and Uncle Remus's Magazine. The authors note Mary's increasing lack of satisfaction with her own writing product, particularly underscoring the relative lack of success she enjoyed with her second novel Wild Work, which attempted objective treatment of the Coushatta Massacre. They also observe details of Bryan's personal and family life, the persistence of scandal in her social interactions, and the death of husband Iredell while evaluating the circumstances and importance of her effort to return to Florida for winters at the Indian River resort town, Coquina. Mary’s biography closes on details of her death and discussion of her professional legacies.
Des O’Rawe
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780719099663
- eISBN:
- 9781526104137
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099663.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter discusses William Klein’s filmmaking in relation to his photography, and how he has used documentary forms to investigate the relations between time and movement, image and montage. The ...
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This chapter discusses William Klein’s filmmaking in relation to his photography, and how he has used documentary forms to investigate the relations between time and movement, image and montage. The chapter also looks at how Klein negotiates his identity as an American in Paris who has, nevertheless, remained artistically and politically attached to the USA, especially New York City. Some of Klein’s most iconic street photographs were taken in 1950s, in the streets of his childhood, and – as the chapter elucidates – much of his documentary filmmaking has involved expeditions into American culture in the second half of the twentieth century. In examining the various aesthetic and cultural issues provoked by Klein’s films, it also suggests a correspondence between his work and Roland Barthes’ intellectual project.Less
This chapter discusses William Klein’s filmmaking in relation to his photography, and how he has used documentary forms to investigate the relations between time and movement, image and montage. The chapter also looks at how Klein negotiates his identity as an American in Paris who has, nevertheless, remained artistically and politically attached to the USA, especially New York City. Some of Klein’s most iconic street photographs were taken in 1950s, in the streets of his childhood, and – as the chapter elucidates – much of his documentary filmmaking has involved expeditions into American culture in the second half of the twentieth century. In examining the various aesthetic and cultural issues provoked by Klein’s films, it also suggests a correspondence between his work and Roland Barthes’ intellectual project.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0006
- Subject:
- Sociology, Gender and Sexuality
In this chapter, I explore the significance of increasingly stringent and exigent dieting, exercise, and surgery advice from the 1970s onward, highlighting how self-altering practices were cast as a ...
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In this chapter, I explore the significance of increasingly stringent and exigent dieting, exercise, and surgery advice from the 1970s onward, highlighting how self-altering practices were cast as a means to become an acceptable member of society. It explores how the model became the ideal for the whole population. Simultaneously, however, the body’s vitality and mutability also came to be favored, as a biopolitics of beauty emerged, organizing and regulating publics at the level of population, as a standing reserve, always already in need of enhancement and optimization, ready for a close-up, in need of that makeover. In tandem with these developments, modeling work took on characteristics that prompted some of my respondents to refer to it as “the life,” a state of working that felt to many like having to be “on” all the time. In the transition from day job to total lifestyle, playing the role of being a model—sashaying about in crinolines, carrying a hatbox containing waist cinchers and war paints (the badge of the model’s trade), while ducking into movie theaters to make oneself scarce between calls—gave way to the casual street chic, “I only dress up on the runway” attitude of today, where models live the part, hiding the effort required to make looking glamourous seem easy and like something everyone should do.Less
In this chapter, I explore the significance of increasingly stringent and exigent dieting, exercise, and surgery advice from the 1970s onward, highlighting how self-altering practices were cast as a means to become an acceptable member of society. It explores how the model became the ideal for the whole population. Simultaneously, however, the body’s vitality and mutability also came to be favored, as a biopolitics of beauty emerged, organizing and regulating publics at the level of population, as a standing reserve, always already in need of enhancement and optimization, ready for a close-up, in need of that makeover. In tandem with these developments, modeling work took on characteristics that prompted some of my respondents to refer to it as “the life,” a state of working that felt to many like having to be “on” all the time. In the transition from day job to total lifestyle, playing the role of being a model—sashaying about in crinolines, carrying a hatbox containing waist cinchers and war paints (the badge of the model’s trade), while ducking into movie theaters to make oneself scarce between calls—gave way to the casual street chic, “I only dress up on the runway” attitude of today, where models live the part, hiding the effort required to make looking glamourous seem easy and like something everyone should do.
Sophie Couchman
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9789888528615
- eISBN:
- 9789888268658
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888528615.003.0003
- Subject:
- Society and Culture, Gender Studies
Despite ‘unchanging tradition’ being a key characteristic of the white wedding, the cultural practices that make up the white wedding have evolved and become integrally linked to the creation of the ...
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Despite ‘unchanging tradition’ being a key characteristic of the white wedding, the cultural practices that make up the white wedding have evolved and become integrally linked to the creation of the wedding photograph. From the late nineteenth century, increasing numbers of women, including Australians with Chinese heritage, were married and photographed in white. This chapter analyses Chinese-Australian wedding photographs from the 1890s to the 1940s within larger global movements in fashion and culture. It suggests that by marrying in white, Chinese-Australian women were not assimilating into Western, Christian cultural practices that already existed, but that they, alongside other women in Australia, China, Hong Kong and around the world, were building something new – the global phenomenon of the white wedding.Less
Despite ‘unchanging tradition’ being a key characteristic of the white wedding, the cultural practices that make up the white wedding have evolved and become integrally linked to the creation of the wedding photograph. From the late nineteenth century, increasing numbers of women, including Australians with Chinese heritage, were married and photographed in white. This chapter analyses Chinese-Australian wedding photographs from the 1890s to the 1940s within larger global movements in fashion and culture. It suggests that by marrying in white, Chinese-Australian women were not assimilating into Western, Christian cultural practices that already existed, but that they, alongside other women in Australia, China, Hong Kong and around the world, were building something new – the global phenomenon of the white wedding.
Tanisha C. Ford
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781469625157
- eISBN:
- 9781469625171
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469625157.003.0001
- Subject:
- History, African-American History
The opening chapter of the book outlines a brief history of black fashion. Using Angela Davis as a guiding figure, the chapter discusses how and why soul style became a global phenomenon. Locating ...
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The opening chapter of the book outlines a brief history of black fashion. Using Angela Davis as a guiding figure, the chapter discusses how and why soul style became a global phenomenon. Locating the style’s roots in the antebellum period, tracing its development in the interwar period, and showing its critical evolution in the years following WWII, the chapter makes a case for why clothing has always been tied to struggles for black freedom. The chapter centers this American history in a broader context of the African diaspora in the mid-twentieth century. It uses these intertwining movements as the cultural and political foundation from which soul style emerges as a global phenomenon. The chapter also offers important definitions of terms such as “style,” “fashion,” and “soul.”Less
The opening chapter of the book outlines a brief history of black fashion. Using Angela Davis as a guiding figure, the chapter discusses how and why soul style became a global phenomenon. Locating the style’s roots in the antebellum period, tracing its development in the interwar period, and showing its critical evolution in the years following WWII, the chapter makes a case for why clothing has always been tied to struggles for black freedom. The chapter centers this American history in a broader context of the African diaspora in the mid-twentieth century. It uses these intertwining movements as the cultural and political foundation from which soul style emerges as a global phenomenon. The chapter also offers important definitions of terms such as “style,” “fashion,” and “soul.”
Sam Aleckson
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781949979831
- eISBN:
- 9781800852136
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979831.003.0012
- Subject:
- History, American History: Civil War
Silla, a maid in Chrleston is punished severely for daring to wear a hat her enslaver disapproves of.
Silla, a maid in Chrleston is punished severely for daring to wear a hat her enslaver disapproves of.
Cecilia Tossounian
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781683401162
- eISBN:
- 9781683401421
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9781683401162.003.0004
- Subject:
- Society and Culture, Latin American Studies
Chapter 3 turns from the upper-class flapper to representations of female workers in order to explore how pink-collar labor impacted women’s daily lives, especially in the areas of dating and ...
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Chapter 3 turns from the upper-class flapper to representations of female workers in order to explore how pink-collar labor impacted women’s daily lives, especially in the areas of dating and fashion. By tracing the representations and lived experience of these working modern girls, the chapter examines the contradiction expressed by the popular media, which alternatively praised the freedom, autonomy, and personal fulfillment associated with female work while at the same time condemning the effect of work and consumption on traditional gender roles.Less
Chapter 3 turns from the upper-class flapper to representations of female workers in order to explore how pink-collar labor impacted women’s daily lives, especially in the areas of dating and fashion. By tracing the representations and lived experience of these working modern girls, the chapter examines the contradiction expressed by the popular media, which alternatively praised the freedom, autonomy, and personal fulfillment associated with female work while at the same time condemning the effect of work and consumption on traditional gender roles.
Kam Louie (ed.)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9789888083794
- eISBN:
- 9789882209060
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888083794.003.0005
- Subject:
- Literature, World Literature
Eileen Chang's fiction and essays show us an intricate relationship between the quotidian, gender and literary imagination. Similar to what Walter Benjamin calls “profane illumination,” her literary ...
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Eileen Chang's fiction and essays show us an intricate relationship between the quotidian, gender and literary imagination. Similar to what Walter Benjamin calls “profane illumination,” her literary inspirations are drawn from the materialistic and anthropological dimensions in the mundane realm of everyday life. On the one hand, her feminine writings about clothing display Shanghai as a phantasmagoria in the perpetual process of innovation and destruction. On the other hand, her secular reflections can be traced to an ancient memory of Chinese antiquity without the celebration of a sense of youthfulness and freshness that characterizes Western modernist literature. Questioning the gendered space of everyday life, her writings, which deal with both the historical and the philosophical, destabilize the binary thinking of female sensibility and masculine sublimity.Less
Eileen Chang's fiction and essays show us an intricate relationship between the quotidian, gender and literary imagination. Similar to what Walter Benjamin calls “profane illumination,” her literary inspirations are drawn from the materialistic and anthropological dimensions in the mundane realm of everyday life. On the one hand, her feminine writings about clothing display Shanghai as a phantasmagoria in the perpetual process of innovation and destruction. On the other hand, her secular reflections can be traced to an ancient memory of Chinese antiquity without the celebration of a sense of youthfulness and freshness that characterizes Western modernist literature. Questioning the gendered space of everyday life, her writings, which deal with both the historical and the philosophical, destabilize the binary thinking of female sensibility and masculine sublimity.
Monica Titton
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474419475
- eISBN:
- 9781474444699
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474419475.003.0004
- Subject:
- Film, Television and Radio, Film
The essay analyses fashion blogs as discursive and performative sites for the dissemination and production of fashion and provides a critical analysis of the processes of authorship, identity and ...
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The essay analyses fashion blogs as discursive and performative sites for the dissemination and production of fashion and provides a critical analysis of the processes of authorship, identity and persona construction from a feminist perspective. It also traces the recent cultural-historical developments, which have paved the way for the representation of identity and selfhood performed and displayed on fashion blogs. The author discusses continuities and dis-continuities in written and visual female authorship from the 1960s to the present.Less
The essay analyses fashion blogs as discursive and performative sites for the dissemination and production of fashion and provides a critical analysis of the processes of authorship, identity and persona construction from a feminist perspective. It also traces the recent cultural-historical developments, which have paved the way for the representation of identity and selfhood performed and displayed on fashion blogs. The author discusses continuities and dis-continuities in written and visual female authorship from the 1960s to the present.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0003
- Subject:
- Sociology, Gender and Sexuality
In this chapter, I explore how the fashion show changed as television and the Internet, systems for gridding affectivity for profit, spread, by tracking these changes from Charles Frederick Worth’s ...
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In this chapter, I explore how the fashion show changed as television and the Internet, systems for gridding affectivity for profit, spread, by tracking these changes from Charles Frederick Worth’s innovative use of live mannequins to the “disdainful beauties” of the 1950s, to Mary Quant’s wild leap into the future when she recruited photographic models for the runway in the 1960s to, finally, the supermodels’ celebrity and the ensuing everydayness of fashion.Less
In this chapter, I explore how the fashion show changed as television and the Internet, systems for gridding affectivity for profit, spread, by tracking these changes from Charles Frederick Worth’s innovative use of live mannequins to the “disdainful beauties” of the 1950s, to Mary Quant’s wild leap into the future when she recruited photographic models for the runway in the 1960s to, finally, the supermodels’ celebrity and the ensuing everydayness of fashion.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0007
- Subject:
- Sociology, Gender and Sexuality
While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work ...
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While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work to produce the right “look” in person, in photographs, and online. Model agents made it clear that it matters where models live, where they eat and shop, and on which airline they travel. As this chapter explores, some respondents reported being told explicitly by their agents they had to put on the show all the time, even if they were just running around the corner to do an errand, mindful of the impression they might make as they are out and about, conscious of their online image created by the photos snapped of them in fashionable neighborhoods or at social events and posted to blogs or websites dedicated to documenting the modeling world. It seems like a lot of work, but models who really want to “make it” report trying to make it look fun to be exposed in this way, to be “on” all the time, to be out there in the spotlight, as often as humanly possible.Less
While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work to produce the right “look” in person, in photographs, and online. Model agents made it clear that it matters where models live, where they eat and shop, and on which airline they travel. As this chapter explores, some respondents reported being told explicitly by their agents they had to put on the show all the time, even if they were just running around the corner to do an errand, mindful of the impression they might make as they are out and about, conscious of their online image created by the photos snapped of them in fashionable neighborhoods or at social events and posted to blogs or websites dedicated to documenting the modeling world. It seems like a lot of work, but models who really want to “make it” report trying to make it look fun to be exposed in this way, to be “on” all the time, to be out there in the spotlight, as often as humanly possible.
Myra S. Washington
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496814227
- eISBN:
- 9781496814265
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814227.003.0003
- Subject:
- Sociology, Race and Ethnicity
Kimora Lee Simmons’s career as a fashion model and media figure offers an alternative reading of Blasians as potentially resistive and subversive campy subjects. This chapter delves into how her use ...
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Kimora Lee Simmons’s career as a fashion model and media figure offers an alternative reading of Blasians as potentially resistive and subversive campy subjects. This chapter delves into how her use of camp is predicated on the performative nature of identity and her refusal to settle for the primacy of visibility and authenticity as key measures of race. Analyses of Simmons’s advertising campaigns, reality television show, and social media usage highlights the ways her Blasianness publicly challenges the idea of a color-blind, post-racial United States.Less
Kimora Lee Simmons’s career as a fashion model and media figure offers an alternative reading of Blasians as potentially resistive and subversive campy subjects. This chapter delves into how her use of camp is predicated on the performative nature of identity and her refusal to settle for the primacy of visibility and authenticity as key measures of race. Analyses of Simmons’s advertising campaigns, reality television show, and social media usage highlights the ways her Blasianness publicly challenges the idea of a color-blind, post-racial United States.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0003
- Subject:
- Art, Art History
Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers ...
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Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.Less
Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0006
- Subject:
- Art, Art History
The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking ...
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The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.Less
The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.
Elizabeth Castaldo Lundén
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474461801
- eISBN:
- 9781399501576
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474461801.003.0001
- Subject:
- Film, Television and Radio, Film
The introduction anchors the contemporary red-carpet phenomenon to cultural shifts at the turn of the 20th Century. More specifically, it links these to the cultural practices of New York Society ...
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The introduction anchors the contemporary red-carpet phenomenon to cultural shifts at the turn of the 20th Century. More specifically, it links these to the cultural practices of New York Society circles in their attempts to emulate European royal and aristocratic traditions. In doing so, it also tackles the changes brought along by late modernity, including the emergence of American beauty ideals in the media and the first attempts to create awareness around the need for an American fashion scene that could compete with Paris. It briefly discusses the shifting meanings of glamour as a central idea that navigates alongside Hollywood and the red-carpet event.
The concept of heterotopia is used to ground the elusive meaning of Hollywood, and Arjun Appadurai’s notion of the 5-scapes is brought to the forefront to contextualise the multifaceted aspects that need to be taken under consideration when studying the complexities of the red-carpet phenomenon in the context of globalisation. The introduction finally proposes thinking about different periods of fashion at the Academy Awards, structured under Raymond William’s understanding of the emergent, the dominant and the residual, led by shifts in the fashion and film industries.Less
The introduction anchors the contemporary red-carpet phenomenon to cultural shifts at the turn of the 20th Century. More specifically, it links these to the cultural practices of New York Society circles in their attempts to emulate European royal and aristocratic traditions. In doing so, it also tackles the changes brought along by late modernity, including the emergence of American beauty ideals in the media and the first attempts to create awareness around the need for an American fashion scene that could compete with Paris. It briefly discusses the shifting meanings of glamour as a central idea that navigates alongside Hollywood and the red-carpet event.
The concept of heterotopia is used to ground the elusive meaning of Hollywood, and Arjun Appadurai’s notion of the 5-scapes is brought to the forefront to contextualise the multifaceted aspects that need to be taken under consideration when studying the complexities of the red-carpet phenomenon in the context of globalisation. The introduction finally proposes thinking about different periods of fashion at the Academy Awards, structured under Raymond William’s understanding of the emergent, the dominant and the residual, led by shifts in the fashion and film industries.
