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Journal articles on the topic 'Fashion and art'

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Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Miller, Sanda. "Fashion as Art; is Fashion Art?" Fashion Theory 11, no. 1 (March 2007): 25–40. http://dx.doi.org/10.2752/136270407779934551.

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2

Kim, Sung Bok. "Is Fashion Art?" Fashion Theory 2, no. 1 (February 1998): 51–71. http://dx.doi.org/10.2752/136270498779754515.

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3

Collins, Vishna. "Art and fashion." Australasian Journal of Popular Culture 5, no. 2 (September 1, 2016): 165–85. http://dx.doi.org/10.1386/ajpc.5.2-3.165_1.

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4

Koivisto, Elina, and Pekka Mattila. "MARKETING FASHION AS ART OR THE ART OF MARKETING FASHION?" Global Fashion Management Conference 2019 (July 11, 2019): 677. http://dx.doi.org/10.15444/gfmc2019.06.07.02.

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5

Jung, Hojin, and Hosup Kan. "Taoistic Fashion Aesthetics in Art Deco Fashion." Journal of the Korean Society of Costume 69, no. 1 (January 31, 2019): 127–40. http://dx.doi.org/10.7233/jksc.2019.69.1.127.

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6

Varol, Esra. "The relationship of fashion and art and art literacy of the students of the department of fashion design." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 437–52. http://dx.doi.org/10.18844/gjhss.v2i1.328.

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7

Beltrán-Rubio, Laura. "Reading Fashion in Art." Dress 47, no. 1 (January 2, 2021): 103–5. http://dx.doi.org/10.1080/03612112.2021.1872973.

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8

Durst, Elizabeth. "Russian Art Nouveau Fashion." Experiment 7, no. 1 (2001): 209–32. http://dx.doi.org/10.1163/2211730x-00701009.

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9

Filieri, Juri, Elisabetta Benelli, and Francesca Filippi. "Fashion Design and Art." Fashion Highlight 1, no. 1 (July 31, 2023): 88–95. http://dx.doi.org/10.36253/fh-2265.

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Observing the 20th century, it becomes clear how much the definition of fashion as an inferior reflection of art is definitively outdated, in favour of a more complex and equitable relationship of mutualistic inference that places fashion within the ranks of the arts of modernity. Fashion has always utilised art in its rhetoric and draws on an innumerable series of expressions and idioms, contending with art for the esteem and social prominence accorded to high culture. The granted and denied relationship with time appears central in the definition of similarities and differences, essential to understanding mutual inferences and distinctive qualities in today’s increasingly complex and nuanced picture. While fashion constantly seeks (otherwise risking its very existence) a vector of engagement with the real experience of the public and with time (“con-tempo-raneo”), art lives on visionary paradoxes, on a higher spiritual need, translated into form.
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Kaiser, Susan B., and Anneke Smelik. "Encounters: Fashion and beauty, fashion and art, fashion and social justice." Critical Studies in Fashion & Beauty 13, no. 2 (December 1, 2022): 199–206. http://dx.doi.org/10.1386/csfb_00045_2.

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We propose a thought experiment to introduce the three articles in this volume, focusing specifically on fashion’s encounters with beauty, art and social justice, respectively. Using a both/and approach, we consider the ways in which ‘encounters’ encourage open questioning and debate, when one pairs fashion with beauty, fashion with art and fashion with social justice. Rather than framing the concepts in these pairs oppositionally, we argue that encounters become possible because they resonate or echo – conceptually, aesthetically or affectively – in ways that are nonbinary and nonlinear. As a result, new provocations and lines of inquiry can emerge.
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LaMoreaux, Nicole, Lou Acierno, and Elizabeth Marotta. "Fashion now and then: Men’s fashion as art." Critical Studies in Men???s Fashion 4, no. 2 (September 1, 2017): 111–12. http://dx.doi.org/10.1386/csmf.4.2.111_7.

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12

Bramantijo, Bramantijo, and Rose Aprilia Lani Kartini. "Contemporary Art On Fashion In Jember Fashion Carnaval (2016-2021)." Terob : Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (October 31, 2023): 15–23. http://dx.doi.org/10.20111/terob.v14i1.57.

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As a fashion show that includes members of all societal strata, Jember Fashion Carnival (JFC) is regarded as a must-attendcultural event in East Java. In modern civilization, fashion is used as a means of communication to express social, cultural, andpersonal identity. Art and fashion share many similarities in how they portray or convey feelings, expression, amusement, and beingpresented. The term experimental, a subset of contemporary art, has its roots in the creation of clothing that pushes the boundariesof both fashion and performance art, or as it is known in the language of fashion, the avant-garde. This study intends toascertain the evolution of contemporary art at JFC as well as the impact of contemporary art on fashion at JFC events, particularlyfrom 2016 to 2021. The data gathered were examined inductively as a cultural inquiry utilizing ethnographic techniques. The visualcultural portion includes shape, color, texture, fashion, and the arts. Regarding poetry and how to develop and connect ideas, theaesthetics of art and fashion are similarly similar. Avant-garde fashion is contemporary art applied, yet one might also say thatfashion is a costume in contemporary art. In JFC, the focus is on the artists' creative processes, and how innocence and wildness intheir work emerge. They also receive guidance and instruction on creating, applying makeup, walking, and dancing.The Jember Fashion Carnival not only has a theme but also emphasizes the theatricality and soul of the costumes. Values, excitement, and motivation to create fashion pieces fuel the carnival's rebirth. In addition, each theme also incorporates components of values, culture, humanism, compassion, and openness to different viewpoints.
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13

Huang, Shiyi. "Research on Marketing Strategies and Trends of Art Co-Branding in the Contemporary Fashion Industry." Advances in Economics, Management and Political Sciences 55, no. 1 (December 1, 2023): 7–15. http://dx.doi.org/10.54254/2754-1169/55/20230946.

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Art co-branding is an increasingly huge fashion industry trend with great potential and unknown risks. In this paper, marketing strategies and trends are the main focuses in terms of the art co-branding of fashion brands. The method used includes literature research and two case studies of Louis Vuitton collaborating with Yayoi Kusama and Dior Lady Art, examining their marketing strategies and performances. Increase in product value, maintenance of scarcity, and construction of in-depth customer relationships are the three main reasons contributing to the win-win outcome of art co-branding in the fashion industry. As a result, it is shown that art co-branding can contribute to highlighting the core of fashion brands and greatly increase brand awareness by choosing an artist with a matching concept through various marketing strategies. Art co-branding has the high potential to become widely used by fashion brands and act as an effective method to benefit all fashion brands in the future.
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14

Torres, Lara. "Fashion in the Expanded Field: Strategies for Critical Fashion Practices." Journal of Asia-Pacific Pop Culture 2, no. 2 (December 1, 2017): 167–83. http://dx.doi.org/10.5325/jasiapacipopcult.2.2.167.

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Abstract This article focuses on current strategies for critical fashion practices in an expanded field of fashion. In the late twentieth century and early twenty-first century, the field of fashion studies has increasingly scrutinized the relationship between fine art and fashion within an art museum context. Drawing a parallel with Rosalind Krauss’s notion of sculpture in the expanded field, this article documents the development of interdisciplinary fashion practices, suggesting that an expanded field allows fashion practitioners to engage in a critical discussion of the fashion system. As a fashion practitioner focusing on nonproductivist interdisciplinary techniques across multiple media (fashion and film, sculpture, installation, and performance), I test this notion by developing parallels between contemporary fashion and Krauss’s 1979 diagnosis. This article argues for the relevance of establishing theories of interdisciplinary practice to better understand the contemporary field of fashion, challenging assumptions about fashion’s role in the twenty-first century.
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15

Biehl-Missal, Brigitte. "Art, Fashion, and Anti-consumption." Journal of Macromarketing 33, no. 3 (February 28, 2013): 245–57. http://dx.doi.org/10.1177/0276146713477865.

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16

Firstenberg, L. "THE ART OF AFRICAN FASHION." Nka Journal of Contemporary African Art 2000, no. 11-12 (September 1, 2000): 120. http://dx.doi.org/10.1215/10757163-11-12-1-120.

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Rooks, Noliwe. "Black Fashion: Art. Pleasure. Politics." Nka Journal of Contemporary African Art 2015, no. 37 (November 2015): 4–5. http://dx.doi.org/10.1215/10757163-3339717.

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18

Suh, Seung-Hee, and Young-In Kim. "Fashion as Art through the Expansion of Aesthetic Concept of Contemporary Art and Fashion." Journal of the Korean Society of Clothing and Textiles 37, no. 4 (June 30, 2013): 577–89. http://dx.doi.org/10.5850/jksct.2013.37.4.577.

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19

Ayres, Jennifer. "A Fashion Exhibit Without Fashion." Fashion Studies 1, no. 1 (2018): 1–35. http://dx.doi.org/10.38055/fs010114.

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In this review, I critically examine the fashion and art exhibition “fashion after Fashion,” April 7–Aug 27, 2017 at the Museum of Arts and Design in New York City, curated by Hazel Clark and Ilari Laamanen. The exhibition design was commissioned work by six interdisciplinary artists/designers who incorporated a mix of sculpture, performance, and audiovisual material into their installations. The different installations, taken together and experienced together, acted back and upon each other in interesting ways in the exhibition, which was a strength of the curators’ method; the use of commissions exclusively acted as a kind of artistic method in itself. The first and most notable thing about the exhibit was that there were no clothes on mannequins. While the exhibition’s premise was on fashion, the intentional absence of clothing was a risky strategy the curators pursued to intervene in how viewers think about fashion. The installations were purposely amorphous and abstract as well to inspire a broader consideration of what fashion can be and what bodies can do. Though the relationship between fashion and the body has been a constant topic in fashion scholarship, this exhibition offered a new perspective through commissioning and showcasing the category-defying work of recent fashion and art school graduates and performance artists.
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20

Crane, Diana. "Fashion and Artification in the French Luxury Fashion Industry." Cultural Sociology 13, no. 3 (September 2019): 293–304. http://dx.doi.org/10.1177/1749975519853667.

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Fashion design is created in systems of collaborative relationships comparable to art worlds but fashion systems differ from art worlds in the relative emphasis on economic considerations and in the utility of what is produced. A brief history of the French fashion systems underlying haute couture and luxury ready-to-wear fashion reveals that both systems exhibited a tendency toward partial artification, as seen in the creation of designs with avant-garde connotations, although designers were primarily concerned with economic rewards. This tendency was reversed toward the end of the 20th century as both types of designers ceded control over their firms to luxury fashion conglomerates. The importance of fashion collectibles as a form of cultural heritage increased with the emergence of fashion museums but auction prices of fashion collectibles are significantly lower than in the fine arts. Higher auction prices for fashion collectibles occur in cases of celebrity validation or when the fashion collectible has some connection with fine art.
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21

Palandri, Lucrezia. "Fashion as Art: Rights and Remedies in the Age of Social Media." Laws 9, no. 1 (March 11, 2020): 9. http://dx.doi.org/10.3390/laws9010009.

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Today’s increasingly widespread recognition of fashion’s artistic value has revamped the debate on the appropriateness of rights and remedies provided by IP law to fashion designs. From an Italian–US comparative perspective, this article inquires whether copyright protection, traditionally accorded to artists, is eligible and applied for fashion, detecting that rights and remedies are better accessible to major fashion companies and for iconic items, while they are not easily attainable by smaller designers. Analyzing a number of case studies, this article describes a growing phenomenon in the age of the digital revolution, that is, controversies regarding the fashion world tend to be disputed on social media rather than in courtrooms. Beyond the debate on which existing formal legal tools are suitable for fashion, the purpose is to bring the phenomenon of informal self-regulation out of court into conversation, examining advantages and disadvantages. Social media platforms are more suitable to fashion’s nature and dynamics, and ultimately, their verdicts seem to obtain better results than litigation, balancing the unequal positions of established and emerging brands.
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22

Hills-Nova, Clare. "Researching fashion in New York libraries and beyond." Art Libraries Journal 29, no. 3 (2004): 22–27. http://dx.doi.org/10.1017/s0307472200019027.

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By the 1990s, fashion studies’ relegation to the marginalia of art historical discourse had greatly diminished. During the same period, US fashion itself emerged from European domination, with the action centring on New York City. Conveniently, New York’s art, design and fashion libraries, archives and special collections were already the most wide-ranging anywhere and, propelled by multi-disciplinary-, multi-media-driven interests, they have continued to expand their collections in all areas of fashion research and design, as well as in fashion’s innumerable contiguous fields. While discussing the multiple research resources available to New York-based historians of dress, fashion designers and clothing industry affiliates, this article examines issues of choice and magical serendipity in the context of an at-times overwhelming plethora of information.
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23

Park, Shinmi. "Fashion, addressing the new body - The body, fashion and art -." Research Journal of the Costume Culture 20, no. 5 (October 31, 2012): 782–98. http://dx.doi.org/10.7741/rjcc.2012.20.5.782.

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24

최지희 and 김정실. "Characteristics of Fashion Designer's Art Expressions in Contemporary Fashion Collections." Journal of Korea Design Forum 23, no. 2 (May 2018): 189–98. http://dx.doi.org/10.21326/ksdt.2018.23.2.017.

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박신미. "Fashion, addressing the new body - The body, fashion and art -." Research Journal of the Costume Culture 20, no. 5 (October 2012): 782–98. http://dx.doi.org/10.29049/rjcc.2012.20.5.782.

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26

Varol, Esra, and Nilay Ertürk. "The relationship of fashion and art and art literacy of the students of the department of fashion design." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 437–52. http://dx.doi.org/10.18844/prosoc.v2i1.328.

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The existence of the relationship between fashion and art dates back to old times. The aim of Worth and Poiret with the arising of haute couture in 19th century was the acceptance of fashion designers as artists. Even though this situation has never realized completely, many designers continued designing clothing with the sense of art and still do. The subject that unites design and art on the common ground is that there is an effort of creating an esthetical product at the end of both activities. In this direction, art lessons have always been a part of design education. As in every design field, in fashion design field art lessons take place in the curriculum. Art provides the inspiration for the designers; students and other designers design clothing by being influenced by the art. Thus, art becomes an eternal research field for designers, art literacy comes into prominence in this respect. The aim of this research is to discuss the relationship of art and fashion within its historical development and reveal the art literacy of the students of the department of fashion design. The research has been carried out in Eskisehir Anadolu University Faculty of Architecture and Design Department of Fashion Design. The method of the research is descriptive. In order to obtain the research data along with literature review art literacy scale that is developed by Assistant Professor Doctor Ä°zzet Yucetoker has been used. Scale 96 has been applied on fashion design student.Keywords: fashion, art, fashion design, art literacy.
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27

Marselina, Cindy, Mahdalena Risnawaty, and Wardhana Wardhana. "PERENCANAAN CREATIVE FASHION CENTER DENGAN PENDEKATAN ARSITEKTUR ART DECO DI KOTA SAMARINDA." Jurnal Totem : Architecture, Environment, Region and Local Wisdom 4, no. 1 (April 22, 2023): 40. http://dx.doi.org/10.31293/ttm.v4i1.6698.

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The Creative Fashion Center is a place for fashion workshops, makeup workshops, bazaars and catwalks with an emphasis on the art deco architectural style. Fashion is a familiar term in everyday life. We often identify fashion with clothes or clothes, when in fact what is said fashion is everything that is trending in society. Consumers can be regarded as the main driving force of the fashion industry. Because apart from being a buyer, they are also the ones who determine and choose the style to become a fashion trend. The architectural approach of this building is art deco. Art deco architecture was a popular design movement from 1920 to 1939, which influenced the decorative arts of architecture. This architectural style is suitable for the Creative Fashion Center building because art deco represents charm, elegance and luxury. And in my opinion, art deco style can represent the elegance and luxury of the pop art fashion style favored by young people.
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28

Kapoor, Deepa. "Fashion Designing & Fashion Trends in Current Scenario." International Journal for Research in Applied Science and Engineering Technology 11, no. 1 (January 31, 2023): 1491–94. http://dx.doi.org/10.22214/ijraset.2023.48852.

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Abstract: This research is clear about the fashion related to humans and their lives. This collection is sourced from field visit books and the internet. The fashion industry has changed a lot over the years. Fashion houses are no longer working with two collections per year - Fall/Winter and Spring/Summer. Multiple fashion professionals are working with multiple collections and deliveries every season. They are constantly inventing new ideas and creating new products to meet the aspirations of their customers. 'Fast fashion' companies are successfully using a variety of strategies to reduce production times, increase their competitive advantage, and accelerate the design process. This research project was undertaken to examine the relationship between the designer's ideas, the innovative design of the product and the aspirations of the consumer. The rapid economic development, multi-cultural fusion, attention-grabbing and high-fashion logo clothing design reflect and add integration requirements of a variety of elements, for diverse development, which makes these designers stand out among other fields. The essence of need to get inspiration for new design idea is called art. The exploration of abstract painting forms characterized by clear nature, form, color, expression and new aesthetics can bring new strength to fashion design, so as to promote. In order to develop innovative and diverse fashion designs, this paper describes upcoming garments, features of abstract art, all focusing on the analysis and study of fashion design abstract expression, respectively, by the three aspects of the color of the dress design, form, effect of the essence art on modern fashion design, in the context of the application of modern and organic Along with achieving his mastery in clothes, there is a change in the dress style. In this paper, an attempt has been made to identify opportunities for future research and to advance fashion practices.
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29

Goodrum, Alison L. "Exhibition Review: Flaunt: Art/Fashion/Culture." Fashion Theory 9, no. 1 (March 2005): 89–94. http://dx.doi.org/10.2752/136270405778051482.

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30

Radford, Robert. "Dangerous Liaisons: Art, Fashion and Individualism." Fashion Theory 2, no. 2 (May 1998): 151–63. http://dx.doi.org/10.2752/136270498779571103.

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31

Ye, Minhee, and Eunhyuk Yim. "Art Strategies of Luxury Fashion Brand." Journal of the Korean Society of Clothing and Textiles 38, no. 2 (April 30, 2014): 191–200. http://dx.doi.org/10.5850/jksct.2014.38.2.191.

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32

Chu, Yoomi, and Hye Kyung Kim. "Developing Fashion Design through Art Collaboration." Korean Society of Fashion Design 22, no. 2 (June 30, 2022): 73–86. http://dx.doi.org/10.18652/2022.22.2.5.

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윤희주, 장미숙, and 한수연. "Nail Art Design using Fashion Image." Journal of Investigative Cosmetology 13, no. 3 (September 2017): 295–303. http://dx.doi.org/10.15810/jic.2017.13.3.012.

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34

Fahnny, Diva Azzahra Nurul, and Suciati Suciati. "TEKNIK DISTRESSED MANIPULATION PADA ART FASHION." Jurnal Da Moda 2, no. 1 (October 28, 2020): 7–13. http://dx.doi.org/10.35886/damoda.v2i1.108.

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Fashion yang memiliki sifat dinamis, menghasilkan berbagai busana yang bersifat imajinatif dan berkembang sesuai zaman kini merupakan seni dari busana kontemporer. Distressed manipulation merupakan suatu pengembangan busana kontemporer yang ada. Didapatkan melalui berbagai cara penghancuran tekstil secara basah dan kering pada stuktur atau konstruksi sebuah tekstil. Teknik distressed manipulation dibuat dengan tujuan memunculkan suatu art fashion yang mana suatu busana memiliki nilai estetika yang cukup tinggi melalui berbagai teknik tersebut. Metodologi yang digunakan yaitu kajian literatur, ekperimen, dan berbandingan tekstil yang mengalami teknik distressed. Sehingga teknik distressed manipulation menghasilkan suatu art fashion berupa sebuah dress yang memiliki distressed pada bagian kontruksi tekstil dan aplikasi distressed pada struktur sebuah jas.
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Mackrell, Alice. "Folk Couture: Fashion and Folk Art." Costume 50, no. 1 (January 1, 2016): 141. http://dx.doi.org/10.1080/05908876.2016.1134888.

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Faraboschi, Paolo, Eitan Frachtenberg, Phil Laplante, Katherine Mansfield, and Dejan Milojicic. "Technology Predictions: Art, Science, and Fashion." Computer 52, no. 12 (December 2019): 34–38. http://dx.doi.org/10.1109/mc.2019.2942286.

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37

Miller, Sanda. "Fashion and the Art of Pochoir." Fashion Theory 21, no. 3 (February 2, 2017): 323–32. http://dx.doi.org/10.1080/1362704x.2017.1281606.

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Chen, Xiao Mei, Bo Lin Wu, and Yun Mu. "Research on Particularity of Stage Art Design in the Fashion Show." Advanced Materials Research 1048 (October 2014): 345–48. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.345.

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The fashion show was needed to inosculate clothing, music, dance, music, drama, art, sculpture and other arts as a whole,and conduct comprehensive art creation.The stage art design was a very important part in the fashion show, the artistic atmosphere of the show theme need to express can be rendered and created. The expression of fashion show on the clothing art beauty, dynamic beauty and static models walk the other beauty can be better presents,and more vitality. The overall effect on the fashion show has a crucial role.Therefore, this paper,the special elements of stage art design was analysesed,and the concrete application of the stage art design in the fashion show was explored.
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Navarro, Henry. "Fashion as public art: Strengthening communities through site-specific fashion collections." Fashion, Style & Popular Culture 1, no. 3 (August 1, 2014): 445–57. http://dx.doi.org/10.1386/fspc.1.3.445_1.

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Chen, Shu Cong. "Research on Application of Graffiti Art on Fashion Design." Advanced Materials Research 821-822 (September 2013): 769–73. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.769.

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This paper mainly analyzed the artistic characteristics of graffiti, and the application of graffiti art on fashion design is elaborated. The cultural value and commercial value of graffiti art in brand operation of fashion design is also present. The conclusion shows that the combination of graffiti art and fashion is the historical trends of fashion design.
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Shapiro, Bella L. "FASHION, ART AND ARTS PRACTICE: A HISTORIOGRAPHY OF THEIR RELATIONSHIP." Articult, no. 1 (March 2024): 5–12. http://dx.doi.org/10.28995/2227-6165-2024-1-5-12.

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The central theme of this research is a reflection on the evolution of philosophical ideas about the relationship between fashion and art, from its origins in the Age of Enlightenment to the present. The order of appearance of the first theories of fashion, linking fashion and art, their orientation traced. We investigated the evolution of these theories and the conditioning of the evolution by various social causes and intellectual trends. And we also followed up the transformation of fashion theories as an art form under the influence of contemporary artistic practices. The conclusion of the research: the relationship between art and fashion in the modern world is becoming stronger and stronger. The circle of issues that connect art and fashion in the modern world is quite wide, and it is constantly changing. One of the reasons for these changes is the alteration of the essential boundaries of contemporary art.
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무윈. "A Study on the Installation art characteristics in Fashion Art." Korean Journal of Art and Media 16, no. 1 (May 2017): 139–80. http://dx.doi.org/10.36726/cammp.2017.16.1.139.

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43

Soni, Sangeeta. "MOTIFS OF MANDANA ART IN FASHION PRODUCT." International Journal of Research -GRANTHAALAYAH 8, no. 8 (August 30, 2020): 233–38. http://dx.doi.org/10.29121/granthaalayah.v8.i8.2020.1032.

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India have a rich Art and Culture heritage, Our cultural and Traditional art speaks about how sensible our Ancestors are, they have Beliefs and reasons behind every art and culture work they do or create. We have varieties of Art forms like painting, sculpture, pottery, and textile arts such as woven silk are one of our Rich Cultural Heritage which makes our India Incredible. One of The Traditional Art is Mandana Art which i used in the redesigning of Mandana Motifs through painting on women’s apparels and high light them by Traditional Embroidery -Kantha Work.
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Åžener, Fatma, and Meltem Erdogan. "Neo-Geo and Fashion Interaction." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 595–601. http://dx.doi.org/10.18844/prosoc.v2i1.909.

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Neo-geo, which appeared as an abstract and modern art movement towards the end of 20th century, has had its impact in 21st century as well. New geometry painting perception known as neo-geo is the works where materials and geometric forms are used in any environment. The effects of geometric forms are observed in fashion as in architecture and painting. Fashion designers are the people with an open perception who are able to manage to develop their artistic experience and knowledge using the current time and their abilities in a correct way. The purpose of the current study was to investigate the new geometry as an abstract and modern art movement and fashion interaction and determine its effect on fashion. In this research, the related literature was reviewed and the collections of the fashion designers who were impressed by this art movement was examined and some samples were given. Due to the fact that the art movement of neo-geo appeared towards late 1980s, clothing styles of 80s and its relation with the fashion in those days were given.Keywords: Fashion, neo-geo (new geometry), art.Â
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45

Zhang, Jun Hua. "The Historical Origin between Shandong Folk Art and Modern Fashion Design." Advanced Materials Research 1048 (October 2014): 250–53. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.250.

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Shandong folk art, full of artistic connotation, has a long history, which is an important source of fashion design. This article makes an analysis of the specific application and embodiment about the Shandong folk art elements in modern fashion design fabrics, styles, colors from the Shandong traditional paper-cut art, ceramics, painting, textile technology and fashion design style, and so on. At last, it puts forward the viewpoint of drawing lessons from the traditional folk art the creation of humanity, design pattern and heritage enrichment in the modern fashion design.
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46

Soliman, Hala Mohamed Mustafa. "Creating Contemporary Fashions Using the Art of Macrame in light of Sustainable Fashion." International Design Journal 14, no. 4 (July 1, 2024): 505–20. http://dx.doi.org/10.21608/idj.2024.359871.

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47

Karso, Kejora Pratiwi, Tjok Istri Ratna Cora Sudharsana, Nyoman Dewi Pebryani, and Olih Solihat Karso. "Brahrang: Si Manis Berbalut Merah di Binjai." BHUMIDEVI: Journal of Fashion Design 3, no. 1 (March 31, 2023): 60–74. http://dx.doi.org/10.59997/bhumidevi.v3i1.2234.

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Koleksi busana Brahrang merupakan hasil karya penciptaan desain mode yang terinspirasi oleh flora endemik Indonesia, yakni Rambutan Binjai. Rambutan Binjai adalah salah satu varietas unggul rambutan di Indonesia, memiliki asal usul yang menarik untuk diperkenalkan karena berasal dari salah satu kota penghasil buah rambutan terbanyak di Indonesia, yaitu Kota Binjai; kota yang juga terkenal dengan kain Ulosnya. Manisnya daging buah Rambutan Binjai dengan nuansa merah dan putih, serta kulitnya yang berwarna hijau ketika masih muda, diangkat menjadi ide pemantik dalam perancangan busana ready to wear, ready to wear deluxe, dan semi couture yang diimplementasikan menggunakan gaya ungkap analogi dengan sentuhan elegant look, style classic elegant dan sexy alluring. Perwujudan koleksi karya busana “Brahrang: Si Manis Berbalut Merah di Binjai” menggunakan delapan dari sepuluh tahapan perancangan busana yang bertajuk FRANGIPANI, The Secret Steps of Art Fashion, yaitu (1) Finding the brief idea, (2) Researching and sourcing of art fashion, (3) Narrating of art fashion idea by 2d or 3d visualization, (4) Making sample, dummy, and construction, (5) Interpreting of singularity art fashion will be showed in the final collection, (6) Promoting and making a unique art fashion, (7) Navigating art fashion production by humanist capitalism method, (8) Introducing the art fashion business. Perancangan busana ini bertujuan untuk memperkenalkan secara lebih luas ke masyarakat umum serta melestarikan flora endemik Indonesia dan kain khas tradisional Indonesia.
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48

Andraş, Sonia. "Fashioning simultaneous migrations: Sonia Delaunay and inter-war Romanian connections." Critical Studies in Fashion & Beauty 13, no. 2 (December 1, 2022): 229–53. http://dx.doi.org/10.1386/csfb_00047_1.

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This article analyses the connections between the worlds of fine art and fashion through the complex interconnections between the Parisian-Eastern European creative exile. It follows the common threads between Ukrainian-Jewish artist and fashion designer Sonia Delaunay (1885–1979) and prominent inter-war Parisian Romanians: namely, Tristan Tzara, Constantin Brâncuși and Lizica Codreanu. I suggest the concept of ‘simultaneous migrations’ to illustrate fashion’s mobility beyond and across cultural differences, identities and aesthetics through Sonia Delaunay’s philosophy of Simultaneity, focusing on her inter-war Romanian connections in Paris. The research bridges across the fields of fashion studies, art history and cultural studies, in order to explicate the synapses that shed light on Sonia Delaunay’s ideas of Simultaneity and colour theories to Paris as an ideological, cultural, artistic and identity hub.
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Kosanić, Vanja. "Razvojni put modne ilustracije 20. i 21. veka – likovno predstavljanje mode (u slikarstvu, modnim tablama i modnim ilustracijama) / Development of Fashion Illustration during the 20th and 21st Century: Pictorial Representation of Fashion (in Painting, Fas." AM Journal of Art and Media Studies, no. 4 (December 15, 2013): 35–43. http://dx.doi.org/10.25038/am.v0i4.48.

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The theme of this study is pictorial representation of costume and fashion in painting, fashion plates and fashion illustrations. Fashion illustration of the 20th century, specific in terms of freedom of interpretation that is given to the artists when representing fashion trends, has kept those elements of painting that are almost lost in contemporary art movements (for instance figuration). Through several specific examples in art history I will try to demonstrate the artist’s approach to the representation of costume. In this study I will also try to define the role of painting when it comes to the fashion, the role of fashion plates and then the role of fashion illustration created in the early 20th century. Finally, I will take a look at the fashion photography that in the beginning has found its role-models precisely in the fashion illustration and today is returning to the visual characteristics of renaissance art, and to the painting in general, from which everything has begun.
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Wiratno, Tri Aru. "ESTETIKA FASHION URBAN." Jurnal Sosiologi Reflektif 12, no. 1 (January 5, 2018): 137. http://dx.doi.org/10.14421/jsr.v12i1.1327.

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The beauty of a reality that exists in the history of human life, which becomes the beauty of a daily life of the urban masyakarat. The beauty is not merely in the form of modern art work that only gives a limit on the value of artwork. While the beauty of a day of society representation on a culture and tradition. That beauty is part of human life, which concerns something good. Not on the art form but also on the behavior of society. Because beautiful, good is good and true in a narrative in the life of society. But in contrast to the beauty of urban reality in which beauty is not a value but as a sign and that marks so beauty does not become a meaning and purpose of a work of art but an urban lifestyle. Urban fashion aesthetic with a phenomenon approach that develops in the life of urban society, today. That aesthetic fashion becomes part of urban society. As an illustration of the urban community that gives shape of fashion aesthetic.Keindahan sebuah realitas yang ada dalam sejarah kehidupan manusia, dimana menjadi keindahan sebuah kehidupan sehari-hari dari masyakarat urban. Keindahan bukan melulu pada bentuk karya seni modern yang hanya memberikan batas pada nilai karya seni. Sedangkan keindahan sehari dari masyarakat representasi pada sebuah budaya dan tradisi. Bahwa keindahan itu adalah bagian dari hidup manusia, yang menyangkut sesuatu yang baik. Bukan pada bentuk karya seni tapi juga pada prilaku masyarkatnya. Karena indah, bagus itu baik dan benar dalam sebuah penuturan di dalam kehidupan masyarakat. Namun berbeda dengan keindahan realitas urban di mana keindahan bukan sebuah nilai tapi sebagai sebuah tanda dan yang menandai sehingga keindahan bukan menjadi sebuah makna dan tujuan dari sebuah karya seni tapi sebuah gaya hidup (fashion) urban. Estetika fashion Urban dengan pendekatan fenomena yang berkembang pada kehidupan masyarakat kota, saat ini. Bahwa estetika fashion menjadi bagian dari masyarakat urban. Sebagai gambaran dari masyarakat urban yang memberikan bentuk dari estetika fashion.Keywords: Beauty, Culture, Fashion and Urban
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