Shanghai Street Style marks the inaugural volume in an exciting new street style series from Intellect. With an array of up-and-coming young designers like Coko Wan, Nio and Helen Lee, Shanghai is swiftly cementing its status as a global fashion destination – its first fashion week was in 2011 – and this book brings together more than one hundred full-colour photographs showcasing the remarkable diversity of styles seen on its streets. Alongside the photographs are short pieces of critical commentary by Vicki Karaminas and Toni Johnson-Woods, shedding light on the city's changing culture and how this is expressed through the clothing choices of ordinary city-dwellers going about their daily routines. The result is a stunning street-level look at the trends shaping Shanghai's fascinating fashion scene, with interesting echoes of East meets West and old meets new.
Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the “low” into the “high”. The same cannot be said of contemporary art of the 21st century, where the term “Gaga Aesthetics” characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukács, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is “Gaga Aesthetics”: aesthetics that no longer follows clear fields of activity, where “fine art” is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.
There is a new form of design practice within the contemporary fashion industry which is active in complex forms of social commentary and critique. While fashion in the modernist era has shown signs of criticism and subversion, these were either in the form of subcultures or perversions, such as punk or BDSM styling. Today, however, these genres have been absorbed into the fashion industry itself, meaning that “critical fashion” is now far from limited to the subcultures from which it came. This book explores this new space for criticism within the popular fashion sphere to demonstrate how designers are disrupting conventions, challenging beliefs and stirring change from within the system itself. Critical Fashion Practice considers a range of contemporary designers across the globe, from the US to Japan, whose conceptual designs embody this critical language, including case studies such as Rei Kawakubo's deconstructive silhouettes for Comme des Garçons and Walter Van Beirendonck's sadomasochistic menswear collections, amongst other key players such as Miuccia Prada, Vivienne Westwood and Viktor & Rolf. Arguing that the rise of critical fashion coincides with a noticeable decline in the criticality of art, Geczy and Karaminas go beyond slotting fashion into previously established art theories. Conceiving a new cultural role for fashion that affords insight into identity, class, race, sexuality and gender, this book shows how fashion can not only reflect and comment on, but can also be a part of social change.
There is a new form of design practice within the contemporary fashion industry which is active in complex forms of social commentary and critique. While fashion in the modernist era has shown signs of criticism and subversion, these were either in the form of subcultures or perversions, such as punk or BDSM styling. Today, however, these genres have been absorbed into the fashion industry itself, meaning that “critical fashion” is now far from limited to the subcultures from which it came. This book explores this new space for criticism within the popular fashion sphere to demonstrate how designers are disrupting conventions, challenging beliefs and stirring change from within the system itself. Critical Fashion Practice considers a range of contemporary designers across the globe, from the US to Japan, whose conceptual designs embody this critical language, including case studies such as Rei Kawakubo's deconstructive silhouettes for Comme des Garçons and Walter Van Beirendonck's sadomasochistic menswear collections, amongst other key players such as Miuccia Prada, Vivienne Westwood and Viktor & Rolf. Arguing that the rise of critical fashion coincides with a noticeable decline in the criticality of art, Geczy and Karaminas go beyond slotting fashion into previously established art theories. Conceiving a new cultural role for fashion that affords insight into identity, class, race, sexuality and gender, this book shows how fashion can not only reflect and comment on, but can also be a part of social change.
Gone are the days when fashion relied on a runway launch with coinciding press promotions to show a couturier's new range. Today, design houses are thinking beyond traditional methods of display to stimulate interest in their collections, such as to the internet, fashion film and, more recently, fashion installations. This book offers a critical evaluation of the changing ways in which fashion has been exhibited, focusing specifically on the recent turn toward installation, whether in the form of static presentations, interactive performances or the more conventional curated designer exhibition. Connecting viewers – and consumers – on an immersive level, the fashion world has begun to appropriate installation methods traditionally associated with displays of experimental art, transcending the runway system and its constraints. This book turns to the designers who have pioneered fashion installations, such as Aitor Throup, Muccia Prada, Walter Van Beirendonck and Hussein Chalayan among others, and also looks back to the early influential fashion displays by designers such as Worth and Poiret to provide historical context. Divided into three parts, and covering a variety of installations from Vivienne Westwood's fashioned 'concept' stores to Gareth Pugh's immersive films, this ground-breaking book positions the designer as the curator and exhibition-maker and offers the first focused study of the pertinent concept of fashion installation.
Shortlisted for the Association of Dress Historians Book of the Year Award, 2021 Libertine practices have long been associated with transgression and social deviance. This innovative book is the first to focus fully on the relationship between libertinism as a social phenomenon and as a form of fashion. Taking the reader from early modernity to the present day, Adam Geczy and Vicki Karaminas reveal how the connection between clothing and the taboo, the erotic, and the forbidden is at the heart of "libertine fashion". Moving from the decadent courts of Charles II and Louis XV to the catwalks of the 21st century, Libertine Fashion examines literary and sartorial figures ranging from the Marquis de Sade and Lord Byron to Oscar Wilde, Josephine Baker, Colette, and Madonna. Focusing on libertinism as a sartorial practice and identity, this book traces the genealogy of the concept through the proto feminists of the English Reformation, the hedonistic decadents of the fin de siècle, and the Flappers of the Roaring 20s. The historical arc traverses the 1970s era of punk and glam, the shapeshifting personae of David Bowie, and the “disciplinary regimes” of Jean-Paul Gaultier. Looking at libertine practices and appearances with fresh eyes, this bracing and original book affords many new insights into transgressive style, and of the relationship between sexuality and clothing. Accessible and thoroughly researched, Libertine Fashion uses a multidisciplinary approach that draws on historical literature, film, fashion, philosophy, and popular culture. Offering a historical and philosophical grounding in contemporary forms of identity and dress, it is essential reading for students and scholars of fashion, gender, sexuality, and cultural studies.
Style is predominantly an individual matter – the way people put themselves together creates a sense of individual identity – but collectively it creates a sense of common culture in a community, a city or a country. Geographically isolated from the fashion hubs of Paris and New York, Australia may not yet be synonymous with style. But as it moves away from the beach look that it is usually associated with and adopts haute couture, Australia is emerging as a shining star in the Southern Hemisphere. Though not the political capital of the country, Sydney is nevertheless Australia’s cultural capital, and the style hub and epicentre of the country’s fashion evolution. Sydney Street Style depicts the style of this less-explored fashion capital. Beautifully assembled and packed with full-colour photos of the stylish and eclectic residents of Sydney, this book will be a welcome addition to the library of any fashionista or armchair traveller.
Shortlisted for the Association of Dress Historians Book of the Year Award, 2021 Libertine practices have long been associated with transgression and social deviance. This innovative book is the first to focus fully on the relationship between libertinism as a social phenomenon and as a form of fashion. Taking the reader from early modernity to the present day, Adam Geczy and Vicki Karaminas reveal how the connection between clothing and the taboo, the erotic, and the forbidden is at the heart of "libertine fashion". Moving from the decadent courts of Charles II and Louis XV to the catwalks of the 21st century, Libertine Fashion examines literary and sartorial figures ranging from the Marquis de Sade and Lord Byron to Oscar Wilde, Josephine Baker, Colette, and Madonna. Focusing on libertinism as a sartorial practice and identity, this book traces the genealogy of the concept through the proto feminists of the English Reformation, the hedonistic decadents of the fin de siècle, and the Flappers of the Roaring 20s. The historical arc traverses the 1970s era of punk and glam, the shapeshifting personae of David Bowie, and the “disciplinary regimes” of Jean-Paul Gaultier. Looking at libertine practices and appearances with fresh eyes, this bracing and original book affords many new insights into transgressive style, and of the relationship between sexuality and clothing. Accessible and thoroughly researched, Libertine Fashion uses a multidisciplinary approach that draws on historical literature, film, fashion, philosophy, and popular culture. Offering a historical and philosophical grounding in contemporary forms of identity and dress, it is essential reading for students and scholars of fashion, gender, sexuality, and cultural studies.
For hundreds of years consumers and scholars have acknowledged that food is affected by the same rapid shifts in taste and consumption as clothing. Trends in fashion and in food are increasingly being marketed in tandem and sold as fashionable commodities to reinforce capitalist power. Yet despite this, the reciprocal relationship between fashion and food has not been fully explored – until now. Gastrofashion from Haute Cuisine to Haute Couture examines the relationship between food and fashion in clothing, style, and dress in all its manifestations, from the restaurant to the catwalk, to cookbooks, diet fads, slow food, fast fashion, celebrity chefs, artists, and musical performers. It traces the relationship between food and fashion back to the Middle Ages, to the rise of social refinements in manners, speech, clothing, and taste, when behaviours and appearances reflected social status and propriety and where the social display of wealth and privilege were inseparable from food and clothing. Nowadays, designer eateries such as Pasticceria Prada and Armani Ristorante and the display of food on fashion catwalks are the precursors of the restaurants of pre-Revolutionary France and the spectacles of world fairs and exhibitions. This much-needed book offers a substantive and incisive discussion for all those interested in the complex interrelationship between food and fashion – scholars, students, and general readers alike.
Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the “low” into the “high”. The same cannot be said of contemporary art of the 21st century, where the term “Gaga Aesthetics” characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukács, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is “Gaga Aesthetics”: aesthetics that no longer follows clear fields of activity, where “fine art” is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.
Informed by detailed historical research, mainly about twentieth century modern and post-modern fashion, Park's practice prompts a reconsideration of the interaction of dress, body, textile, artefacts of eighteenth-century elites as operating within modes of sociability, politeness, viewing and control.
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