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Journal articles on the topic 'Fashion and visual art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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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

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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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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4

Genç, Çağlar, Oğuz Turan Buruk, Oğuzhan Özcan, Sejda Inal Yilmaz, and Kemal Can. "Forming Visual Expressions With Augmented Fashion." Visual Communication 16, no. 4 (September 26, 2017): 427–40. http://dx.doi.org/10.1177/1470357217714652.

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Wearable devices have a crucial impact on our bodies since they directly affect our appearance. However, wearable design practitioners focus more on the practical functionalities of the technology, leaving more investigation needed on what kind of visual expressions the technology might enable on wearable devices. With a critical approach on this functional perspective, the authors conducted a design workshop with fashion design and engineering students in which they first created art expressions and then wearable devices by using technological components. This practitioner’s essay reflects on the resulting hands-on design experiences in new visual expressions that would not have been possible with just traditional materials.
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5

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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6

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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7

Duncan, Alexandra. "Digitization after a fashion: The art of compromise." Art Libraries Journal 42, no. 1 (December 15, 2016): 55–60. http://dx.doi.org/10.1017/alj.2016.47.

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A case study concerning the in-house digitization of a small collection of Central Saint Martins graduate fashion shows. The background of the collection is outlined (VHS and DVD recordings spanning from 1979 to present), as well as the workflow put in place to deal with the technical aspects of recording, cataloguing, processing and archiving an audio-visual collection with minimal budget and staffing.
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Szkoda, Ena. "Exhibition Review: Art/Fashion. Guggenheim Museum SoHo." Fashion Theory 1, no. 3 (August 1997): 321–27. http://dx.doi.org/10.2752/136270497779640107.

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9

Loreck, Hanne. "De/constructing Fashion/Fashions of Deconstruction: Cindy Sherman's Fashion Photographs." Fashion Theory 6, no. 3 (August 2002): 255–75. http://dx.doi.org/10.2752/136270402790577604.

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10

Kim, Dong Ok, and Jung Hwa Choi. "Analysis of Fashion Design Reflected Visual Properties of the Generative Art." Journal of the Korean Society of Clothing and Textiles 41, no. 05 (October 31, 2017): 825–39. http://dx.doi.org/10.5850/jksct.2017.41.5.825.

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Tarrant, Naomi E. A. "Aileen Ribeiro, Clothing Art: The Visual History of Fashion, 1600–1914." Costume 51, no. 2 (September 2017): 247–53. http://dx.doi.org/10.3366/cost.2017.0029.

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Rice, Robin, and Dilys E. Blum. "Shocking! The Art and Fashion of Elsa Schiaparelli." Woman's Art Journal 25, no. 1 (2004): 54. http://dx.doi.org/10.2307/3566504.

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13

Martin, Richard. "A Note: Art & Fashion, Viktor & Rolf." Fashion Theory 3, no. 1 (February 1999): 109–20. http://dx.doi.org/10.2752/136270499779165662.

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14

Lynge-Jorlén, Ane. "Between Frivolity and Art: Contemporary Niche Fashion Magazines." Fashion Theory 16, no. 1 (March 2012): 7–28. http://dx.doi.org/10.2752/175174112x13183318404104.

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15

Majer, Michele. "Color Moves: Art and Fashion by Sonia Delaunay." Design and Culture 5, no. 1 (March 2013): 119–23. http://dx.doi.org/10.2752/175470813x13491105785749.

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16

Oliver, Kathleen M. "Clothing Art: The Visual Culture of Fashion, 1600–1914 by Aileen Ribeiro." Early Modern Women 13, no. 1 (2018): 192–95. http://dx.doi.org/10.1353/emw.2018.0072.

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17

Chadwick, Whitney, and Nancy J. Troy. "Couture Culture: A Study in Modern Art and Fashion." Art Bulletin 86, no. 2 (June 2004): 384. http://dx.doi.org/10.2307/3177425.

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18

Agac, Saliha. "Installation Artist in the Fashion Industry: Yayoi Kusama." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 35–41. http://dx.doi.org/10.18844/prosoc.v4i11.2847.

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The history of fashion has shown that art and fashion are influenced by each other. Cooperation between the two disciplines is quite extensive. In this work, first, the installation artist Yayoi Kusama’s installations and the clothes that she prepared for these installations are examined. Then, the 2012 collection prepared with the cooperation of Yayoi Kusama-Louis Vuitton was examined and visual content analysis forms were created. As a result of the findings, a capsule collection was prepared in honour of Yayoi Kusama and photographed by establishing the figure–ground relationship as in the fashion photographs of the Yayoi Kusama-Louis Vuitton collection. Keywords: Yayoi Kusama, Louis Vuitton, fashion design, art, capsule collection.
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19

Lilley, Ed. "Art, Fashion, and the Nude: A Nineteenth-century Realignment." Fashion Theory 5, no. 1 (February 2001): 57–77. http://dx.doi.org/10.2752/136270401779045743.

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20

Laing, Morna. "Experimental Fashion: Performance Art, Carnival and the Grotesque Body." Fashion Theory 23, no. 1 (January 5, 2018): 125–29. http://dx.doi.org/10.1080/1362704x.2017.1414917.

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21

Houze, R. "Review: Reforming Women's Fashion, 1850-1920: Politics, Health, and Art." Journal of Design History 17, no. 3 (September 1, 2004): 305–7. http://dx.doi.org/10.1093/jdh/17.3.305.

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22

Freedman, Erin Alexa. "Fashion after Fashion." Fashion Theory 24, no. 1 (April 3, 2018): 113–20. http://dx.doi.org/10.1080/1362704x.2018.1454754.

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23

Diaby Savané, Mélissa. "The fantasy of ugliness in Alexander McQueen collections (1992-2009)." Revista 2i: Estudos de Identidade e Intermedialidade 3, no. 3 (June 20, 2021): 95–108. http://dx.doi.org/10.21814/2i.3157.

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Alexander McQueen (1969-2010) changed the fashion industry and history forever with his innovations and runaway shows that verged on performance art. His talent for tailoring matched the strong narrative and originality of his garments. Some of them were destined for commercial consumption and catered to the masses, but most of them were works of art grown from a vivid yet macabre imagination. He refused the common grounds of fashion to focus on themes usually ignored, such as fetishism, violence, death and mental disturbance. Therefore, he aimed to transcend the usual and reach for the sublime as he created a fantasy world out of his own tormented mind. His Romantic and Gothic inspired work mirrored the anxieties of our times, and raised fashion to an art form on its own, thus prompting a reflection on the affiliation between fashion, visual arts and literature.
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24

Thornquist, Clemens. "Basic Research in Art: Foundational Problems in Fashion Design Explored through the Art Itself." Fashion Practice 6, no. 1 (May 2014): 37–57. http://dx.doi.org/10.2752/175693814x13916967094795.

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Sigurjónsdóttir, Æsa. "The New Nordic Cool: Björk, Icelandic Fashion, and Art Today." Fashion Theory 15, no. 2 (June 2011): 239–58. http://dx.doi.org/10.2752/175174111x12954359478807.

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26

Tuite, Alexandra, and Kathleen Horton. "Crafting symbolic value: art, craft and independent fashion." Creative Industries Journal 12, no. 3 (June 5, 2019): 284–300. http://dx.doi.org/10.1080/17510694.2019.1621587.

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27

Kim, Kyulim, Eunju Ko, and Yang-Im Lee. "Art Infusion in Fashion Product: The influence of Visual Art on Product Evaluation and Purchase Intention of Consumers." Journal of Global Fashion Marketing 3, no. 4 (November 2012): 180–86. http://dx.doi.org/10.1080/20932685.2012.10600848.

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28

Browne, Pat. "Reforming Women's Fashion, 1850-1920: Politics, Health, and Art." Journal of American Culture 27, no. 1 (March 2004): 122–23. http://dx.doi.org/10.1111/j.1537-4726.2004.121_15.x.

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29

Bai, Yuli, Tsan-Ming Choi, Jeanne Tan, Raymond W. Au, and Yingchun Zang. "Searching for Authenticiy in Fashion Design and Art Collaboration (FDAC)." Leonardo 47, no. 2 (April 2014): 179–82. http://dx.doi.org/10.1162/leon_a_00738.

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This paper explores theoretical issues around authenticity in fashion design and art collaboration (FDAC). The aim is to understand the marketer's actual momentum and cultural properties of this phenomenon. Based on multiple case studies and interview surveys, this research identified that: FDAC is in widespread use as a way of above commerce; additionally, it bridges a gap between authenticity and fashion (especially youth fashion), while it represents the value of being free, true to the self and having passion for life. It is also heavily linked with creative youth culture and fashionisation featuring fun, excitation and hedonism.
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30

McDonald, Arthur W., and Edward Maeder. "An Elegant Art: Fashion and Fantasy in the Eighteenth Century." Theatre Journal 37, no. 1 (March 1985): 124. http://dx.doi.org/10.2307/3207201.

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31

Danylenko, Lesya. "Op-Art in the British Graphic Design of the 1960s–1970s. Fashion And Graphic Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 38–48. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235125.

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The article reveals the characteristic manifestations of the op-art style in British fashion on the examples of textile companies and individual designers, as well asin graphic design based on the analysis of printed products of British publications in the 1970s. It is claimed that the visual experiments of the op-art in the field of British fashion were most fully revealed in the activities of the textile companies "Heals", "Hull Traders" and "Edinburgh Weavers" and in the work of designer Mary Quant. And in graphic design — in the book covers of the popular science series "Pelican Books".
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32

Vranou, Sofia. "‘Pakis from Outer Space’: Oriental postmodernity in Leigh Bowery’s performative costuming." Studies in Costume & Performance 5, no. 1 (June 1, 2020): 73–84. http://dx.doi.org/10.1386/scp_00014_1.

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With his extraordinary self-styled personas, the late London-based costume designer, nightclub extravaganza and subcultural icon Leigh Bowery constantly unsettled clear divisions between fashion, performance and visual art. His performative costuming reflects in a prolific manner his hybrid aesthetic and his ability to fuse a wide range of visual elements stemming from high fashion, art, mainstream culture and underground practices that en masse render his bizarre presence highly enigmatic. Inspired primarily by the aesthetics and the representations of South Asian culture, and noticeably deviating both from the subcultural style of the early New Romantics and mainstream fashion trends, Bowery’s allegedly first performative look, the ‘Pakis from Outer Space’, integrates an array of clashing symbols and motifs in a distinctively postmodernist fashion. As fetishization of South Asian iconography, Bowery’s enactment provides a platform for deeper analysis in regard to the problems that postmodernist cultural appropriation poses for the politics of representation of the ‘exotic’, non-western other. Drawing on the discourses of postmodernism and orientalism, this article examines the visual codes of the controversial look and unfolds the ways in which by constructing a distorted and eccentric image of an inclusive South Asian identity, Bowery slips in cultural stereotyping and ethnic generalization. Although his postmodernist parodic ethos could potentially be read as an attempt to create a critical – but politically problematic – dialectical space regarding orientalist clichés, it does not only fail to deconstruct monolithic representations but, conversely, reinforces oriental banality.
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33

Ren, Ruijuan, and Jiangbo Liao. "Processing Objets Trouves: A Review of Appling Collage Thinking and Techniques in Fashion." Asian Culture and History 8, no. 2 (August 31, 2016): 160. http://dx.doi.org/10.5539/ach.v8n2p160.

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<p class="1Body">Collage is generally applied to synthesise the fragments of forms in visual art to create a new effect. This review discusses the application of collage in fashion with its characteristics and influences developing process as a cut-in point; while in terms of methodology, it analyses and generalises the performance of collage aesthetics and collage form in modern fashion details. The research of collaging application plays an oriented role to process design found objects creatively, thus providing rich design languages and methods in today’s fashion field.</p>
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34

Androsova, A. A. "TRENDANALYTICS: INFLUENCE OF POLITICAL IMAGE MARGARET THATCHER ON THE NEWEST FASHION OF THE 2020S." EurasianUnionScientists 10, no. 5(74) (June 14, 2020): 41–53. http://dx.doi.org/10.31618/esu.2413-9335.2020.10.74.797.

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2020 was the year of the return to the catwalks of the legendary image of Margaret Thatcher, who had a global impact on all world politics. Designers and artists, representatives of generations X and Y, whose maturation period fell during the reign of Margaret Thatcher (1979-1990), were so strongly influenced by her image that 30 years after the departure of the "iron lady" from big politics, they return to re-evaluate her influence on the creation of an artistic image in fashion. The image of Margaret Thatcher occupies one of the leading places in the female political image, which speaks silently, using visual codes. Studying the legacy of Margaret Thatcher, the article uses the traditional method of formal style analysis for art criticism. The purpose of the research is to identify and analyze the cultural and artistic influence of the image of Margret Thatcher on the art of the latest fashion, to free it from the biased context, to put modernity in view, to give an objective characteristic of the visual codes of the image, as well as to explore the extensive visual legacy of the "iron lady" as a key to a deeper understanding of her character
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35

Arnold, C. "Review: Fashion." Journal of Design History 18, no. 1 (January 1, 2005): 128–31. http://dx.doi.org/10.1093/jdh/epi009.

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36

Braun, Emily. "Futurist Fashion." Art Journal 54, no. 1 (March 1995): 34–41. http://dx.doi.org/10.1080/00043249.1995.10791674.

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37

Mirza, Romana. "Contemporizing Modesty." Fashion Studies 1, no. 2 (2019): 1–17. http://dx.doi.org/10.38055/fs010204.

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Contemporary Muslim Fashions, September 22, 2018 – January 6, 2019 was organized by the Fine Arts Museums of San Francisco, shown in the de Young Museum and curated by Jill D’Alessandro and Laura Camerlengo, both curators at the museum, and consulting curator Reina Lewis, a scholar at the London College of Fashion, University of the Arts London. The aim was to represent contemporary Muslim fashions. To this end, they assembled and exhibited a collection of garments from the most popular fashion designers of the day, chosen from a series of shows at modest fashion weeks around the world. Supplemented by key pieces that have gained traction in the news such as the Burkini™ and Nike®’s sport hijab, this exhibit elevated perceptions and highlighted a global view by showing designs from around the globe, honouring the African-American, Muslim-American, Arab, and South East Asian cultures and aesthetics. Supporting the sartorial narrative was a display of visual and multimedia art from hip hop music videos, film, Instagram feeds, photography, magazine covers, and prints. The multimedia “exhibit within an exhibit” complemented the sartorial narrative by providing a contemporary context for the clothing. It reminded the observer that the exhibit was not merely about fashion history or the evolution of modesty in dress but about a contemporary moment. The relationship between fashion and the body was explored through designs that cover the body and intentionally hide the often objectified and sexualized female figure to reveal a contemporary approach to fashion that is empowering.
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38

Martinez, J. G. "The Men's Fashion Reader * The Men's Fashion Reader." Journal of Design History 22, no. 4 (October 23, 2009): 423–26. http://dx.doi.org/10.1093/jdh/epp037.

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39

Струмінська, Т. В., О. Ю. Михайлюк, О. С. Слітюк, Г. В. Омельченко, and Т. Ю. Дегтяр. "ПРИНТИ У СТИЛІ ПОП-АРТ ЯК ТВОРЧЕ ДЖЕРЕЛО ДЛЯ ПРОЕКТУВАННЯ СУЧАСНИХ КОЛЕКЦІЙ ОДЯГУ." Art and Design, no. 2 (September 21, 2020): 104–13. http://dx.doi.org/10.30857/2617-0272.2020.2.9.

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The purpose of the work is to determine the main art and compositional solutions of pop art prints of prints for further design of author's prints and the development of creative collections of modern women's clothing. To achieve this goal, special features, art and figurative features of pop art style prints were structured, a visual analytical and comparative analytical analysis of the collections of women's and men's clothing in the style of pop art for the spring-summer 2019 and 2020 seasons was carried out. Highlighted the characteristic compositional solutions of modern prints in the style of pop art in clothing (lettering; drawings of murals; comics, collages and subject images; lines and color combinations) are highlighted, a comparative analysis of the use of stylistic features of pop art in men's and women's clothing collections of spring summer 2019-2020 seasons. Recommendations for the development of prints for promising collections of women's clothing for the spring-summer 2020 season suggest the use of small images, not on the entire plane of the product, the repetition of individual image elements, it is recommended to use subject image of consumer goods, food, comics or lettering. The scientific novelty lies in the study and systematization of compositional and visual solutions of prints in the style of pop art in the collections of modern fashion designers. Based on the definition of fashion trends and the main art and figurative features of prints in the pop art style, author's prints and a collection of women's clothing have been developed.
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40

Frfulanović-Šomođi, Dragana, Milena Savić, and Predrag Đorđević. "Pirot kilim as a visual symbol in the modern fashion design." Pirotski zbornik, no. 45 (2020): 45–64. http://dx.doi.org/10.5937/pirotzbor2045045f.

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The work was created with the aim to research the value and presence of Pirot kilim, more precisely its patterns as fundamental visual presenters of this product traditionally originating from Pirot in the field of contemporary fashion design. As a brand which with its quality crossed the local borders, potentials of Pirot kilim seem to be limitless but also not sufficiently used in the modern fashion design. In this context, the research of this resource was emphasized first on the local level especially in the field of applied art and more precisely in fashion as one of the most productive industries. The study analyses the work of designers who originate from Pirot and therfore are true connoiseurs of local tradition and culture. In some segments, the notion of traditional went beyond that framework and the designers breathed a new modern form into it which is adequate to the modern lifestyle. Apart from the use of Pirot motif pattern, the designers Ana Grgurović and Silvana Tošić have the cooperation with the local industry in common, the management of which recognised the value of its old products which in their redesigned form reach the catwalks and thus gain a new, so far unknown market.
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41

Gilligan, Sarah. "Fashion, Costume and Visual Cultures (FCVC) Network." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 21–25. http://dx.doi.org/10.1386/csmf_00015_2.

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42

Klemm, Peri M. "Oromo Fashion: Three Contemporary Body Art Practices among Afran Qallo Women." African Arts 42, no. 1 (March 2009): 54–63. http://dx.doi.org/10.1162/afar.2009.42.1.54.

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43

Luttrell, Wendy, and Emily Clark. "Replaying Our Process: Video/Art Making and Research." Qualitative Inquiry 24, no. 10 (September 20, 2018): 775–85. http://dx.doi.org/10.1177/1077800418800106.

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This article charts a collaborative and multimodal inquiry practice between a professor and a doctoral student who met during a visual methods course, Doing Visual Research With Children and Youth. Our collaboration focused on blurring the border between art making and research as a means to analyze and re-represent photographs taken by children. In stepping outside our comfort zones as researchers, we shared the same preoccupation: How much creative/artistic license would we exert regarding our use of the children’s photographs? This article explores the making of a video montage in ways that created new ways of seeing and knowing that took us by surprise and helped us rethink the interplay between methodological and ethical imperatives. We hope the article invites other professors and students to fashion collaborations that support such creative experimentation and reflection.
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Entwistle, Joanne. "The Fashioned Body15 Years On: Contemporary Fashion Thinking." Fashion Practice 8, no. 1 (January 2, 2016): 15–21. http://dx.doi.org/10.1080/17569370.2016.1147693.

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45

Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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46

Cınar, Pınar. "Art as a Source of Inspiration in Fashion Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 53–61. http://dx.doi.org/10.18844/prosoc.v4i11.2849.

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Inspiration has an important place in the fashion design process. In a fashionable way, the qualities that the designer is influenced by is the research result for his inspiration. The design elements and principles help in interpretation of the design to convey the design details in the mind of the designer onto paper or fabric. In this work, a collection of inspirational ‘art’ was examined to determine how artwork is reflected in the design elements. Ten fashion design students created a collection of five pieces, based on an artwork. Dress designs were investigated with descriptive analysis technique and the categories were created using design elements for evaluating the visuals in valid form. Colour, texture, ‘rate and line’ and press and decoration were the design elements that benefited in the stage of reflecting inspiration. This is important for the fashion designer to utilise art as a source of inspiration. Keywords: Fashion design, design elements, inspiration in fashion design.
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47

Slater, Don. "In the Culture Society: Art, Fashion and Popular Music, by A. McRobbie." Fashion Theory 4, no. 2 (May 2000): 201–3. http://dx.doi.org/10.2752/136270400779108825.

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48

Marcus, Jaclyn. "Review: Diversity NOW! Fashion & Race with Kimberly Jenkins." Fashion Studies 1, no. 2 (2019): 1–9. http://dx.doi.org/10.38055/fs010203.

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The following article is a review of the 2018 Diversity Now! Lecture, entitled “Unleash the Power of Fashion to Challenge Racism,” led by Kimberly Jenkins and held by Ryerson University’s Centre for Fashion Diversity and Social Change. Jenkins is a lecturer at Parsons University, where she first created and continues to teach her undergraduate course “Fashion and Race,” is a Visiting Assistant Professor at Pratt Institute, and a curator, anthropologist, and art historian. Jenkins is also the creator of the online digital humanities project entitled The Fashion and Race Database as well as co-constructing and presenting a lecture and workshop series known as “Fashion and Justice,” among involvement in many other groups, activities, and media that help to further representation and diversity in fashion education, research, and the fashion industry. The review covers Part 1 and Part 2 of her lecture, “Fashion and Race” and a visual analysis exercise, “The Power of Representation.”
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49

Kley, Elisabeth. "Fashionable Fashion." PAJ: A Journal of Performance and Art 20, no. 3 (September 1998): 26. http://dx.doi.org/10.2307/3245946.

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50

Pichou, Myrsini. "The ATOPOS cvc RIPPING Project: A ‘New’ Life for Dress Objects?" Costume 54, no. 2 (September 2020): 242–64. http://dx.doi.org/10.3366/cost.2020.0166.

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This article will examine the RIPPING ATOPOS project initiated by the Athens-based ATOPOS Contemporary Visual Culture Organization (ATOPOS). In this project, contemporary artists and fashion designers are commissioned to create their own works of art or garments, either inspired by specific pieces or by using duplicates of the 1960s paper dresses from the ATOPOS collection. The article describes results of the collaborations with the different artists and fashion designers. The project has enabled ATOPOS to investigate new ways of handling, managing and displaying its collection.
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