When a woman walks down the street carrying a Louis Vuitton handbag and strutting in her Jimmy Choos, what does she say about herself? Her lifestyle? Where she is from? When a man walks down the street carrying a fake Louis Vuitton handbag and strutting in her cheap plastic pumps, what is he saying about himself? When Trayvon Martin walked through his neighborhood wearing a hoodie, George Zimmerman instantly thought he was a thug. Why? Because dress is intimately tied up with the expression of personal and collective identity. Clothing does make the man, and the woman. Television shows like What Not to Wear are small windows into the reality that external appearances shape personal psychological factors such self-esteem; and clothing also impacts the way other people react. Research in psychology and sociology shows that in addition to the way clothing shapes personal identity, appearance is a marker of social or collective identity. Cultural norms shape the way people dress, which can be a facet of ethnicity. Subcultural identities have differential dress codes. Gender remains one of the most striking ways dress expresses group identity. Furthermore, appearance marks social status and lifestyle. Fashion is more than a form of self-expression and personal identity formation; fashion is an expression of cultural affiliation, social status, and community identity.
Clothing marks the individual with group membership, making it so that members of the in-group recognize the individual as "one of us," and so that members of the out-group recognize the individual as "one of them." In-group/out-group status is a subject widely studied in sociology, psychology, and anthropology literature. New research reveals that in-group/out-group status becomes literally hard wired. In "Social identity shapes social perception and evaluation: Using neuroimaging to look inside the social brain," Van Bavel, Xiao, and Hackel (2012) reveal the neurological component to the way fashion shapes identity. In the Van Bavel, Xiao, and Hackel (2012) research, the authors assigned participants to two groups wearing team jerseys. The team jerseys were arbitrarily designed; that is, they were not reflective of any actual sports club or gang affiliation. Assigning an equal number of black and white participants to each jersey group (lions and tigers), the researchers tested for neurological reactions using fMRI brain scans. As predicted, the brains of the members of the tigers reacted differently to their "kind," regardless of race. "Participants had greater amygdala activity to in-group…… [Read More]
Fashion in Relation to Commodity Culture of 1980s
Fashion during 1980s seems to be glitzy and bold. Fashion trends were no longer dictated by teenagers; as the baby boom generation continued to become richer and older, they demanded more glamorous, upmarket fashion. Contrary to what inspired 1970s fashion, fashion of 1980s did not allow these non-materialist "hippie" values. Some of the nations such as Australia during the decade focused more on earning big money and spending it conspicuously. People could chose to wear fashion that were to promote materialist values as well as portrayed what they had in terms of wealth and social status. Based on reaction against the materialist values and the hippie values of the past decade, some fashion styles such as punk emerged.
Commodity is used by people to aid their living style but due to more demand of people and better living lifestyle, fashion came up and since then it has change how people view commodity for everyone now runs for the fashion so that they catch up with the living standards. Fashion has not just stated recently it existed even in 1980s. The argument of this paper is about what makes fashion to be more than just a commodity in regard to commodity culture of 1980s. Just like the 1980s century fashion, though in a more alarming rate, 21st century is a well adapting and transforming. It begins with an ordinary person who is in the street to the fashion designers responsible for the exhibition of clothes in different fashion events. As much as all individuals try to make a statement, they have severally never considered important where fashion indeed reflect identity of the individual.
Fashion has been largely associated with Paris as its place of birth. In the early 20th century Paris had categorized creative industry of fashion into two; the first category was world of couture. This fashion was a reality closed style belonging to the masses that…… [Read More]
Own branded labels include the labels that the stores themselves go on create. Store brands or own products are an array of products that are sold by the retailer less than one marketing identity. The retailer itself designs, produces, packages and markets the goods. All of this is carried out such that there is a strong and a profitable relationship created between the customer's base and the products. On the other hand, brand fashion labels tend to offer the same products at a higher price. These are the brands that are known either nationally or universally. For instance, a person living in the United Kingdom might be aware of Tesco's or Sainsbury. These brands would not be known by someone living in the Middle East or in the United States. Similarly, if we take a brand like Betty Crocker, the entire world is aware of the quality and popularity of that brand.
Tuttle (2012) states that regardless of what the items a person is dealing with, it is quite simple that the own brand things would be cheaper than the branded counterpart. The recession that hit the entire universal market a few years ago made it very easy for retail stores to cash in on the customers trying to save. People were willing to buy something of a less popular brand if that meant that they would save an extra penny.
Marks and Spencer Case Study
There was a time when Marks and Spencer's was the king in designing women's wear. People all around the country and even the world were aware of the high fashion sense that Marks and Spencer's had in their clothes. It appears that the designers behind the customer's own brand lost their edge and that is when the store decided to rely on sub-brands. One reason that M&S sales dipped so low was the increasing competition on the high street. There was a time when this store filled the gap between sophisticated and cheap fashion products. Now days, is quite apparent that the fashion stores have increased and improved their production. Stores such as Reiss and Cos have become popular. These stores are now gaining momentum in the trend led stores…… [Read More]
In the early history, there was no need of describing the existence of a market as the markets at that time were controlled by various social institutions and were governed by a set of non-economic norms and rules. The people, therefore, relied on the unproblematic existence of the markets. (Maddison )[footnoteRef:2] According to Marx, a commodity can be defined as, 'an object outside us, a thing that by its properties satisfies human wants of some sort or another. The nature of such wants, whether, for instance they spring from the stomach or from the fancy, makes no difference'. (Llyod 2008)[footnoteRef:3] [2: Ben Maddison, "Commodification And The Construction Of Mainstream Australian Economic Historiography," JOURNAL OF AUSTRALIAN POLITICAL ECONOMY, 58: 115-138, http://media.wix.com/ugd/b629ee_07cf0f9c87646590559687add60e0726.pdf (accessed July 11, 2013).] [3: Gareth Llyod, "Commodity Fetishism and Domination: The Contributions of Marx, Lukacs, Horkheimer, Adorno and Bourdieu." (unpublished master., Rhodes University, 2008), Rhodes University, http://eprints.ru.ac.za/1270/1/GarethLloyd-MAthesis.pdf.]
The essential characteristics of a commodity include that; it must be in the form of a good or service. In addition to that, it must be of use to the human beings and must satisfy their needs and wants. (Llyod 2008)[footnoteRef:4] [4: Gareth Llyod, "Commodity Fetishism and Domination: The Contributions of Marx, Lukacs, Horkheimer, Adorno and Bourdieu." (unpublished master., Rhodes University, 2008), Rhodes University, http://eprints.ru.ac.za/1270/1/GarethLloyd-MAthesis.pdf.]
But in the 1980s this concept of commodity was disestablished. In this era the concept of commodification and commodity was being applied to those areas of life which were considered to be excluded from these concepts in the earlier eras. (Maddison )[footnoteRef:5] [5: Ben Maddison, "Commodification And The Construction Of Mainstream Australian Economic Historiography," JOURNAL OF AUSTRALIAN POLITICAL ECONOMY, 58: 115-138, http://media.wix.com/ugd/b629ee_07cf0f9c87646590559687add60e0726.pdf (accessed July 11, 2013).]
The center of attention of all the capitalist economies in the era of 1980s was commodification, which can also be defined as the process of rendering every aspect and every part of life as marketable. The act of commodifying each and every aspect of life relates back to Marx's view that the workers who render services for…… [Read More]
I am looking for a job as a buyer in the retail/merchandising side of Barneys New York. There are several reasons why I want this job. Barneys is one of the top high-end department stores in New York, which is one of the top fashion cities in the world. I want to be a part of something as amazing as Barneys, since I have always loved visiting that store since I was a child. To this day, I love walking through the store and admiring the fashions. Since I have been studying fashion management, I have found stores like Barneys to be even more interesting, because each item of clothing is so well-designed and well-made. Again, there is something exciting about Barneys that makes me want to be a part of that store in particular.
Another reason why I want to join Barneys on the buying team is that I feel that buying is the perfect role for me. I am fashion forward, and eagerly await the new season's clothes. I feel that the spin I would put on Barneys is to ensure that the store not only carries the best established designers but the best upcoming designers from unique fashion areas. Barneys advocates a fairly classic style, but within that there is considerable room to reflect a global mindset. My expertise in design from around the world as well as from the classic designers in Europe and America I think is something I would want to bring to Barney's. I feel that it is important not only to do maintain the store's high standards, but to keep it at the forefront of fashion by offering new innovations and new trends to reflect New York's status as a global fashion capital and a true world city.
The buyer role is also perfect for me in that I love travel, and I know that as a buyer part of my job will be to attend shows around the world, and to meet with designers, especially those with whom we do a considerable amount of business. I was just in Milan for fashion week, and popped down to Florence to see what their designers are doing. This is what I do for fun, so it only makes sense for me to pursue this professionally. I love talking to people in the industry, and I relish the opportunity to…… [Read More]
Fashion industry is also known as clothing industry. It involves the manufacture of garments, involving the conversion of cloth or fabric into wearable garments with different designs. The manufacturing process is often the same worldwide, regardless of where the manufacturer is although the designs they come up. It involves creative and critical thinking in order to come up with unique and different art of manufacturing garments in order to face competitors under the same industry (Jones, 2006).
Short and Long-run Trend
Market models explain the real world using market theories in order to explain how it works. Fashion industry has undergone several changes in the market, which aims at expanding the industry. Fashion industry is monopolistic; as it keeps on differentiating its products, though there are highly substituted due to increased selection of style by the society for the past three decades. There are many buyers and sellers in the market, as the society, who act as consumers, demand more and unpredictable variety of fashion to suit their needs. The price of factors and technology are given, and the firms aim at profit maximization due to highly placed premiums resulting from the unpredictable demand of the consumers. There is free entry and exit of firms in the industry depending on the demand sway of the products (Jones, 2006). General fluctuation of demand makes the responsiveness of the industry towards demand highly elastic.
During short-run and long run, the fashion industry varies its operations. During the short-run, the fashion market will act like monopoly whereby the firms under fashion category maximize profits and make super-normal profits. Under short-run, the market price is influenced by demand of products from textile firms, which is higher than the normal demand. The garment manufactures limit the supply of their products in the market. This enables them to maximize profits during the short-run, where the total marginal revenue equals the total, marginal cost.
During the long-run, many firms will be attracted to…… [Read More]
Later on, throughout the 1930s, fashion photographs were principally created in studios, to take advantage of being able to carefully control lighting, composition and pose (Grossman 1). However, outdoor photo shoots were not unheard of. It has been noted that these outdoor photographs "carried an allusion of authenticity and spontaneity that made the fashionable clothes appear more vibrant than the sculptural effects of studio photographs could achieve" (Grossman 1).
With the impact of World War II, specifically with Germany invading France in 1940, American fashion magazines had to close their Paris locations and only a small amount of information was able to pass from occupied France (Grossman 1). Some fashion photography began to take on the "documentary" type feel of the war footage. However, these wartime fashion photographs were not made available to an American audience until after the war had ended (Grossman 1). From the conclusion of World War II, a new generation of fashion photographers emerged. The photographs of Richard Avedon and Irving Penn were typified with spontaneity and motion, yet still remained quite focused on elegance (Grossman 1).
The 1960s, with its cultural emphasis on sexuality and "free-loving," saw an increase in the sexual depiction of the photographer-subject relationship (Grossman 1). However, towards the end of the 1960s, an economic recession yielded many reductions in magazine budgets, and a new emphasis was placed on dark, violent eroticism (Grossman 1). "After the sexual revolution, photographers worked hard to shock an audience that had grown accustomed to nudity, by incorporating sexual innuendo, homosexuality, cross-dressing, voyeurism and scenarios suggesting rape and murder into their images" (Grossman 1). Additionally, the 1970s saw a distinct shift to emphasize the female body as an object of fetish and sexualization (Jobling 10).
This emphasis on shocking sexuality developed into an even more shocking and compounded depiction of sex and gender in the 1980s (Jobling 10). The 1980s saw men's and women's bodies become objects of desire (Jobling 10). Fashion photography in the 1980s became more daring and diverse (Jobling 17). This new bold and audacious style of photography gave way to an…… [Read More]
The four illustrations from the earliest decades of the twentieth century illustrate the importance of fashion in the formation of identity just as much as Twiggy's outfit does, and in fact are possibly even more telling given their distance from current styles. Regardless of what people of the time though regarding the sexuality of certain of these gown, all of them give the female figure an incredibly sculpted look, whether or not they attempt to accentuate the female curves. These sculpted fashions coincided with much stricter demands on the social role and identity of women, yet even the subtle changes here reveal the shifting cultural acceptances.
The difference between the first two dresses is somewhat startling -- though the accentuation of the thin waist and large bust is diminished in the dress on the right (the later of the two), mobility is also severely hampered by the circumference of the skirt about the legs. This could suggest that even as women were becoming less sexually objectified, their perceived usefulness was also beginning to diminish, and the fashions women became encumbered with made their apparently preferred inaction nearly mandatory. The second pair of dresses seem to reveal a reverse trend -- the last dress (again on the right) is nearly formless, allowing for full mobility and utility while accentuating or indeed even showing none of the female form.
The role of women in our culture, and the changing identities to which they have been allowed to ascribe, has changed drastically over the course of the twentieth century. Perhaps nowhere is this change more visible than in the pages of fashion magazines, which not only reflect but continue to inform our sense of identity today.
Wilson, E. (1992) Fashion and the Post Modern Body. From J.Ash and E. Wilson (eds.) 1992, Chic Thrills. London: Pandora pp 3-16.
Bahl, Vinay (2005) Shifting Boundaries of 'Nativity' and 'Modernity' in South Asian Women's Clothes. Dialectical Anthropology 29:85-121. Springer 2005.
Zelinsky, Wilbur (2004) Globalization Reconsidered: The Historical Geography of Modern Western Male Attire. Journal of Cultural Geography, Vol. 22, 2004.
Cheng, Weiken…… [Read More]
Ciara, meanwhile, has used her music stardom to attempt a modeling career, and claims she derives a great deal of inspiration from fashion, believing that, "fashion and music run parallel to each other" (Bailey 2010). Sean Combs has launched an even more successful entry into fashion using his musical fame (and personal infamy) -- like Mary Kate Olsen, he has translated his sense of style into a career as a fashion designer, and despite the fact that much of his style seems derivative of the gangsters of the Roaring Twenties and the Depression era, his ability to make this classic look also current and somehow cutting edge marks him firmly as a fashion leader even as his popularity and fame as a musician have faded (Greenhouse 2003).
Lady Gaga is also a musician-turned-fashion icon, but of an entirely different caliber than the three discussed above. She has made an equally large statement with her fashion as with her music since she first started performing, and this has kept her on the forefront -- literally a part of the avant garde -- of the fashion world, even arguably influencing big-name designers (Lomrantz 2009). Christian Siriano is the oddball of my collection, as he achieved his fame in fashion solely through his talent as a designer (albeit assisted by his Project Runway fame and championship), and his consistent creativity makes him one of the most interesting young designers in fashion today (Siriano 2010).… [Read More]
The upward-flow theory of fashion adoption "holds that the young -- particularly those of low-income families as well as those of higher income who adopt low-income lifestyles -- are quicker than any other social group to create or adopt new and different fashions," such as the fashion of brightly colored 'hip hop' clothing in the 1990s and the trend to wear 'mod'-style clothing in the 1960s, which originated amongst the British working class but gradually came to dominate the pages of Vogue (Flash cards database, 2009).
Thanks to the corporatization of modern fashion culture, I would argue that less and less of fashion seems to be flowing upward and more and more is trickling downward. Even individuals of less affluent backgrounds, thanks to television and the Internet, have the ability to gawk at the fashions of celebrities as well as the very wealthy. At one time such fashions were far less accessible to daily viewing. People may be buying less clothing, but much of the clothing is patterned upon high-end items. The most successful fashion enterprises tend to be those which copy the fashions of the elite and make these styles affordable to a mass audience. Even the fashion trends of the inner city tend to emphasize 'bling' or a very showy style that echoes that of Versace and other high-end designers. Now, the fancy sneakers of the wealthy are coveted in the inner city, not an urban style -- the last major fashion trend of the underprivileged, poor, young and artist was that of grunge many years ago.
Works… [Read More]
Another research article in the International Journal of Clothing Science and Technology delves into a thorough overview of "smart textiles" (Tang, et al., 2005).
The authors insist that the clothing industry can "potentially be revolutionized with the commercialization of the latest 'smart' textiles research," just as certain advanced fibers, yarns and fabrics have been developed for use in the automotive industry, in space travel, civil engineering and the medical field. Tang emphasizes that "smart" in the sense of smart clothing actually means materials that can "sense and respond in a controlled or predicted manner to environmental stimuli" (Tang, p. 109). And those smart materials can be "delivered," Tang goes on, "in mechanical, thermal, chemical, magnetic or other forms" (Tang, p. 109).
This article was published in 2005 but since at that time some $300 worth of intelligent textiles were being marketed annually, experts were predicting the global market for smart / intelligent technologies would grow to $720 million by 2008. With an annual growth rate of 36% these technologies are expected to become a booming industry (Tang, p. 109). Already the technology is being used in Adidas (and other) running shoes; to wit, the Adidas "1" running shoe has sensors, a microprocessor and a motor "to smartly adjust the level of cushioning" during walking and running exercises (p. 109).
Finding the right materials to use in smart clothing (textiles) is a pivotal part of the innovative phase of discovery. For example, "shape memory alloys" (SMAs) are an important part of the future of smart textiles, Tang explains. When they are at lower temperatures, the structure of SMAs is altered and changes into "a martensite phase" during which they can be "easily deformed." And when SMAs are heated up, they turn into an "austenite phase" and the pre-programmed shape is "recovered" because the SMAs "remember" their original shape. These dynamics are clearly very important when developing intelligent clothing garments (p. 110). Another shape memory material, "shape memory polymers" (SMPs), are considered more suitable for the clothing industry, Tang goes on. SMPs have "higher extensibility, superior processability, lower weight and a softer handle -- and because of SMPs' elasticity, the shape memory aspect makes them very appropriate for use in smart clothing.
On page 113 of his scholarly research article Tang explains that "Smart sweaters that can absorb, store and release heat as required in order to keep the wearer…… [Read More]
Fashion magazines are ubiquitous: they can be found on the shelves of nearly every major bookstore, grocery store, and convenience store around the world. Their content is instrumental in stimulating consumer spending as well as on establishing fashion trends. Many fashion magazines also include written content that transcends the world of fashion, from brief biographical sketches of sports celebrities to detailed information about a health care issue. In addition to promoting new consumer-driven trends in clothing, shoes, gadgets, and cosmetics, men's and women's fashion magazines both mirror broad social and cultural trends from sexuality to family structures. Fashion magazines are instrumental for both retailers and for consumers: they help retailers select in advance their product lines and stimulate consumer spending. Furthermore, fashion magazines usually forecast upcoming trends rather than reflecting current crazes. When they hit the shelves, consumers will be inspired to purchase that which is presumably already on the rack in their favorite department stores. For the purposes of this essay, we will examine two American women's fashion magazines, Vogue and Elle, and two American men's fashion magazines Esquire and GQ.
Vogue is one of the most well-known, if not the most well-known women's fashion magazines on the market. Its counterpart Elle serves a similar function but Elle is a smaller-circulation magazine with a slightly different look and feel from Vogue. Target audiences for the two magazines are similar: professional women aged eighteen to forty, but Vogue is probably geared for a slightly older and wealthier demographic. Nevertheless, the two magazines bear striking similarities in their layout and content. Both have at least a dozen double-page advertisements before the Table of Contents. Both include mostly ads for specific designers and cosmetics lines with a splattering of hard alcohol and car ads. Both Vogue and Elle market a combination of low-end and high-end cosmetics, and both advertise a plethora of high-end fashion wear. Vogue's fashion designs are generally aimed for a more conservative and probably…… [Read More]
Individuality and Self-Expression as a Victim to Fashion
Individuality and self-expression was once highly valued. Today, many people advocate individuality and self-expression in an attempt to prevent individuality from eroding completely. Why though, has individuality become something so endangered that it needs protecting? While there are many factors at play, one of the aspects of society that has led to a loss of individuality is fashion. The media in society promotes fashion trends, with mass advertising presenting ideal fashions to the general public. The influence that celebrities have increases the problem. Fashion companies recognize the potential profits and build on the demand, both by creating fashion items and advertising them to create demand for them. In combination, the public becomes part of a system where they are influenced to accept that is fashionable. Fashion eats away at the minds of the general public, making us feel as if we need to buy to fit in with the populace that surrounds us. Hundreds of thousands of young adults fall into the bottomless pit of lost individualism every day, as their acceptance of fashion trends eats away at individuality and self-expression.
By its very nature, fashion is appearance. What we wear and how we look is what other people see. As fashion trends have increased, fashion has become a reflection of a person's position in society. A woman in a Versace suit will be judged to be more successful and more intelligent than a woman wearing a plain shirt and baggy pants. In part, this perception is related to the role the woman appears to be in. A Versace suit suggests a professional working woman, which in turn suggests success and intelligence. Beyond the role of a woman, fashion trends have gone a step further than just suggesting a person's role. They have gone to a level where just appearing to "be in fashion" suggests…… [Read More]
In addition, while some modern forms of fashion may seem so extreme that they cannot be fulfilling an inner need; this view does not take into consideration worldwide historical fashion trends. Tattooing, body piercing, and dramatic makeup are only three ways that people have used fashion to dramatically alter personal appearance. No matter how outrageous and commercial modern fashion trends may appear, they pale in comparison to trends like neck stretching or foot binding.
Because fashion serves a legitimate purpose, which is to distinguish the members of different cultural groups, the fashion industry answers a need. Furthermore, fashion has fulfilled this same need since long before the industrialization of fashion. Finally, while some aspects of modern fashion may be aimed at encouraging people to purchase different items to signify their group membership, such a goal is relatively benign compared to earlier fashion trends. As a result, it is clear that fashion answers a unique human need: the need to belong.… [Read More]
What is your fashion future? Look into your "Swarovski" crystal ball and predict your fashion future in 5 years. How do you plan to make your prediction(s) come true?
In the next five years, the business of fashion will become increasingly segmented and specialized. Many consumers feel alienated by high-end fashion because they cannot embody the classical ideal of beauty -- or afford it. Because conspicuous consumption by the wealthy is relatively recession-proof, there will always be 'high end' fashion. But more affordable, edgy fashion outside of mainstream houses will begin to proliferate, particularly on the Internet. Consumers also have new concerns about the affordability of clothing, finding clothes that fit larger bodies, and also the sustainability and ethics of where and how their clothing has been produced.
As many retailers have figured out, the best way to reach a segmented market at a relatively low cost is online. Every fashionista in the business must learn how to use the Internet in an optimal fashion. Creating a website that draws traffic and conveys the image of the product in a clear and succinct fashion to web-surfers is essential. Fashion houses must know how to use online technology to sell their wares. For example, instead of just holding fashion shows for 'the press,' fashion shows can now be streamed online, creating direct-to-consumer interest and buzz. Fashion bloggers as well as traditional media are also a potential source of advertising. Sending trend-setting bloggers samples of new fashion for them to chatter about to their followers comes off as more credible than a sponsored article or a write-up in Vogue.
Pinterest, Facebook, and Twitter are essential components of any successful fashion company's marketing strategy today. Fashion houses must use them to create a consistent online message about the product. The use of social media can create a community as well as generate interest, anticipation and sheer delight in the product. Once again,…… [Read More]
Fashion Group International Website for Students of Fashion Merchandising
With a major in fashion merchandising, it is important to keep up with the latest trends in the industry. The website for The Fashion Group International (FGI) provides a great deal of free content and offers additional features for members. FGI was founded in 1930. According to its website, FGI is a "global, non-profit, professional organization with 5000 members in the fashion industry including apparel, accessories, beauty and home. [Its] mission is to be the pre-eminent authority on the business of fashion and design and to help its members become more effective in their careers. To do this, FGI provides insights on major trends in person, online and in print; access to business professionals and a gateway to the influence fashion plays in the marketplace."
The site is very easy to navigate. The default location is "New York," but users have the option of selecting another location, whether it is a major fashion center such as Paris, London, or Tokyo, or a relatively smaller market such as Denver, Atlanta, or Philadelphia. The default page has links to features such as editorials, job bank, members' forum, press releases, sponsors and a student site; local sites provide news and event information for a particular city or region.
Membership in FGI is available at three levels, executive, associate and at-large, depending on the number of years' experience one has in the fashion industry. The benefits include access to contemporary trend and business information, industry sources and market data from American and European markets. As a member, one also has access to a membership directory, a discussion forum, and a resource library of slides, photographs, publications, videos, transcripts and films, organized chronologically, providing information on over seventy-five years of fashion.
For the student of fashion merchandising, an important page is the "studentSITE." There are links to frequently…… [Read More]
Ugo put her in a sparkling gold strapless mini by Dominic Oxily to ensure the newcomer would not get lost in the crowd. She didn't -- wearing the dress with confidence (after a bit of convincing by Ugo), Melanie was named "best dressed" at the event.
For the cover of Ghubar, Ugo put Angela Simmons in a grey mermaid dress by Basil Soda. Stunning against the backdrop of the Hollywood Hills, Angela flaunted her curves in the dress with ruched bodice and mesh sides. It was a daring look for Angela, and one that she absolutely loved.
For Elton John's Oscar party, Christ Brown wanted a look that was mature, but with an edge. Ugo delivered by putting Brown in a grey leopard print blazer. Ugo kept the focus on the statement piece by keeping all the other elements black, including black button down shirt, slim-fitting pants and black loafers, simply trimmed with a bit of merlot piping. To balance the look, Brown wore a pair of statement black spectacles that brought attention to hisface.
Ugo put Chris Brown in all white Lanvin suit for the Grammys. He accessorized the look with Dries Van Noten white lace shoes with a camo sole. After unfavorable tabloid reports, Brown wanted a clean look that signified he was making a fresh start. Ugo's look for Brown was successful, garnering Brown "best dressed" honors for the night.
Letoya Luckett wanted to go "all out" for the 2012 BET awards. In a sunny Christian Siriano Spring/Summer 2012 frock, Luckett wanted to go "all out." She was very nervous about going outside her comfort zone, but relied on Ugo's judgment and went with a timeless and elegant look, keeping her hair simple and accessorizing with a pair of simple, yet striking, gold cuffs. The star earned a "best dressed" nod for the event, and when she looks at pictures of herself twenty years' hence, she will see a confident young woman whose face and figure were beautifully complimented by a classic gown made contemporary with a pop of color.
Melanie Fiona Hallin, Grammy Award-winning Canadian R&B recording artist, made a strong statement in a bright red gown slit to the thigh. The criss-cross bodice hugged Melanie's curves and ended in a flowing skirt that puddled on the floor. Such a bold dress empowered Melanie to feel both glamorous and…… [Read More]
He began branding his own label within a year, which was extended to menswear in 1969. He received the Neiman Marcus Award for fashion twice, as well as eight Coty Awards for his high-quality ready-to-wear designs. His clothing is a mixture of imaginative design with a technical skill that separated him from many other labels. In many regards, it was Beene who truly became America's first major contributor to a mass production of ready-made fashions. At the time in Europe, mass-produced clothing was poor in quality and purchased only by those who could not afford designer clothing. Beene changed this by helping to make ready-to-wear chic. "Although he became known for such shapes as the bolero and the streamlining jumpsuit, and for proposing seemingly illogical combinations of fabric - the fancy with the naive - his real achievement was to address the three-dimensional quality of the body" (Schiro 1994).
In India, as little as two decades ago, the thought of buying ready-to-wear clothing at a major department store would have been totally alien to almost everyone in the country. Even in the 1980s, middle-class Indian housewives usually bought their fabric from a small neighborhood shop and brought it to local tailor, who hand fashioned it into a custom-made garment. However, in the late 1990s, India's significant economic expansion welcomed a retail revolution. A growing affluent middle class became a prime market for well-made and reasonably priced ready-to-wear clothing, and shopping in malls in cities, suburbs and small towns throughout the country turned into one of the most popular pastime (Reich 2006).
Kishore Biyani, CEO of Pantaloon Retail (India) Ltd. (Pantaloon), India's largest clothing retail chain, is one of the leading figures who ushered in India's retail transformation. He helped grow India's brand new ready-to-wear retail clothing institution from just a very small number of clothing manufacturers to today's massive industry. From his business launch in 1967, with a pair…… [Read More]
Heba Elkayal is a fashion blogger from Cairo, Egypt and also writes columns on fashion for the Daily News Egypt. In Egypt, Elkayal supports local designers and within the current fashion season, the fashion designers are working with materials and creating designs which embrace traditional Egyptian culture but also that embrace modern attitudes. In her blog, Elkayal compares fashion design to other forms of art created by Egyptians and elevates her field by doing so.[footnoteRef:1] She is popular within her culture because she supports those in fashion and provides positive feedback rather than focusing on the negatives. Egypt has a rich cultural heritage which dates back to ancient times and the pharaohs. The materials and textiles of those periods are still used today. Some people think of this part of the world as oppressive to women, but Elkayal does not see this as the case. Most clothing from here is somewhat conservative by western standards but that does not mean that the people are trying to oppress women. The clothing styles that Elkayal talks about are conservative but they also show the influence of the rest of the world. [1: Heba Elkayal. "Heba Elkayal." 2011. Accessed March 16, 2013. http://hebaelkayal.tumblr.com / ]
Deema J. Al Saidi's blog is a pictorial collection with limited written language on it. Instead she focuses on the pictures and the clothing that is featured in each photograph. Only then does she provide an attribution at the bottom of each picture that shows where the items of clothing came from.[footnoteRef:2] The focus of her blog is on the clothing and, in particular, how the items look on a real human woman of flesh and blood. Many of the pictures in the blog…… [Read More]
Crew, for example. J. Crew's focus on clean, classic lines that can last forever has been one of the few success strategies in the new emphasis on low, low pricing. Even before the Obamas wore J. Crew to their inauguration, "Compared with most retailers, the company has stayed strong since the economic downturn began," although its sales have dipped 6% -- still better than the industry average (Gregory 2009).
But, not all brands have heard the call to slash prices. Retailer Abercrombie & Fitch, a 'high end' mall store, has bucked the trends of American Eagle and the Gap, stressing that cutting prices could cheapen its luxury brand image (McDevitt 2009). Yet most industry forecasters doubt that the impact of the recession will end anytime soon -- most predict that things will not rebound until at least 2011. And even then, formerly carefree consumers may think twice before slapping down a piece of plastic for a $58 scarf at A&F.
Works… [Read More]