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by Ariane Ankacrona YSL with his muses. Betty Catroux on the right and Loulou de la Falaise on the left. The name Yves Saint Laurent conjures up both a highly successful star brand and an incredibly talented designer with a powerful social presence. It was his talent that led him to success at an early age but his later glamorous life and beautiful entourage that helped shape the image of the brand. Saint Laurent had an acute awareness of the atmosphere and desires of the time he was designing in and this gave him his elevated and successful position in the fashion world. Although his designs instantly became the fashion of the day, Saint Laurent himself was more interested in the lasting style of his creations. Iconic 1975 photo of Le Smoking shot by Helmut Newton Testament to this fact is the re-occurring appearances and interpretations of many of his original designs throughout the last fifty years; his female tuxedo, ‘le smoking’ is one of his most powerful creations. The 1960s was

by Sam Shaw by Tommy Ton of Jakandjil.com The concept of androgynous fashion has been largely ignored, marginalized, and criticized over the past two centuries. While most contemporary theorists suppose that the idea of androgynous dressing is an idealist concept at best, history shows that androgynous fashion is neither a new concept, nor an unexpressed contemporary aesthetic. In current French fashion, androgynous fashions are becoming increasingly relevant, as designers such as John Galliano, Stephano Pilati, and Jean Paul Gaultier present androgynous-leaning styles. Furthermore, androgyny is more and more evident in the streets of Paris, as both men and women adopt gender-neutral garb. The connection between androgynous style and the masculine hegemony is particularly interesting when considered in the context of contemporary French “high” fashion and Parisian street style. The bilateral occurrence of an androgynous trend indicates the presence of societal reflection on conception

by Isabella E. Isbiroglu “For a long time, moreover, the status of the horse stimulated strong feelings because it endorsed the identity of socially dominant groups and symbolized wealth and power, and also owing to the horse’s place at the heart of rituals and social differentation. All this made it the focus of interests both intellectual and affective, both passionate and partison.” (Roche, p. 2) Hermes flagship, Paris Andrew Roche explains in his quote the horse’s role in French society. He believes this figure symbolizes wealth in dominant groups. The Horse has been a part of French history for centuries and has remained to be a significant code in French culture that can be seen in the French fashion industry through design and symbols today. Tom Roche explains that there are three main reasons as to why the horse has been significant in France. He states, First, there was the need throughout society for the performance of numerous horse-related services; second, there was the pl

by Elizabeth Barthelmes Kami Organic blouse and skirt, made with organic cotton and low-impact dyes. Kami, formerly operated under LVMH, became independent in 2008 to produce this organics under the design leadership Jérôme L'Huillier, who has worked with labels such as Givenchy, Pierre Balmain, Lapidus and Junko Shimada (KAMI Organic) In the past decade, a subculture of eco-fashion designers has emerged, who are driven to recreated the standards of the fashion world, but evolving their designs and practices so that they are sustainable. In the current culture of fast fashion and accessible luxury, eco-fashion designers are challenged to work not only upon redefining the industries production processes, but educating the consumer on product’s impacts, as well as maintaining price points, style, and comfort that satisfies their customer’s desires. These efforts have shaped the development of eco-brands and stores within Paris, and throughout the world, slowly revolutionizing th

by Samantha Goodman Figure 1: Henry Roth, Style No: 31655772 . Photograph. Kleinfeld Bridal . Web. 13 Apr. 2010. “Fashion, a naturally ambitious princess, tried to dethrone Usage and turn his kingdom upside down,” so wrote Antoine de la Roque in 1731 after seeing a ballet of twelve vignettes entitled “L’Empire de la mode ” (Benhamou, 35). While the summary was certainly pertinent to the ballet, it can still be applicable today when regarding the wedding dress and the spectacle of the wedding, as the wedding gown, an element of fashion, usurps the necessity of usage as an expensive item that is only worn once. Today’s wedding gown, or bridal couture as top designers such as Vera Wang refer to it, is an example of eighteenth century finery still in use for the representations of extravagance and hierarchy it possesses. Though the large skirt and small bodice of the traditional gown might not be favored by all women, the idea of the gown still seems to hold an element of courtly power onl

by Katherine Hom Cover by Mert & Marcus from "L'Allure, pas la guerre" Power is indicated and negotiated in all aspects of Vogue, from its place in the fashion world, down to the images that are displayed in it. Specifically I looked at the editorial of the March edition of French Vogue. The first of the series is call "L'allure, pas la guerre" translating to "The look, not the war." It was photographed by Mert Alas & Marcus Piggott. The two were both born in 1971 and came together in 1994 and started doing fashion photography. They're known for spending a lot of time on make-up and hairstyling and this kind of scene with the model against a neutral background in common in their work. They have done 7 covers including this issue's for French Vogue. The shoot was styled by Carine Roitfeld, who has been the editor in chief of French Vogue since 2001. Before finding her place at Vogue she worked as a model, writer and stylist for Frenc

by Diana Vassar According to Tom Beebe, the creative director of Paul Stuart’s menswear, “Stopping traffic is the goal for any window designer worth their salt.” (Droganes) Retail shops allot a significant amount of thought and, typically, money to the design of their window displays for good reason: would we as potential customers be inclined to venture through a mysterious, impenetrable door without first getting a peek of what is available inside? Would we even be able to discern a clothing boutique from a supermarket without store-front advertising? Windows offer a glimpse, a snapshot, a quick summary from which we can form the fateful opinion that determines our pursuing actions. To enter or not to enter is the question and window displays offer the answer. They wield power to reel us in, but the final decision is within our own control. BCBG Paris 2010, What does this window say? What is it that makes a shop window speak and customer compelled to act? Is power concentrated in

by Angela Marzan Marie Antoinette’s clothing was social currency to her during her life at the Court of Versailles. It oftentimes, like this pouf in support of the American Revolutionaries, had a political agenda as well. How does one fashion the self? Indeed how does one fashion the political self? Was not, after all, Marie Antoinette merely a young girl, young wife, young mother? Was not Diana, Princess of Wales, the same? And what of Carla Bruni, former beauty queen, now current queen to France’s president? Is she not also just a woman? To define these women is impossible, but to define them through their fashion is dangerous. For clothing, as Oscar Wilde writes, is not a symbol of a nation but rather, it is its own political entity, carrying a power so explosive, for women particularly, that one seldom knows what to do with it. To begin, one must uncover in dress its implications of ladyhood – that ever elusive, surreal embodiment through dress of what it is to be a woman

In society, fashion is used to assert, affirm and refute power. Prep helps sustain status quo style. In the The Official Preppy Handbook (1980) writer Lisa Birnbach uses semiotics to de-code preppy subculture. Prep is based on economic resources for a life of advantages emphasizing college preparatory education. It is also associated with American aristocracy , WASP subculture, and traditional values expressed through classic outward aesthetics. Because is it largely about socio-economic status, it is promoted in consumer culture as an achievable style that drives many brand visions. Prep subculture was originally about quality education in the classics and could be recognized by accent, through region and schooling. Now it is the clothing that serves as index. The Preppy Handbook is based on Britian's Sloan Ranger Handbook and has been followed by the Filthy Rich handbook below and also below a Japanese version. Historic northeastern prep, the Kennedys, and in LA Robert Evans a

by Nora Daly Unlike subcultures who use the fashion system to express difference, fashion resistance is people or groups who resist taking part in the fashion system for various reasons Barnard: 7. Fred Davis, “Anti Fashion: The Vicissitudes of Negation” Fred Davis was emeritus professor of sociology at the University of San Diego. This article is an excerpt from his book Fashion, Culture and Identity , published in 1992. 1 The article comes from a contemporary, academic context; nevertheless it is structured in a fashion that makes it easy to digest. In the introductory paragraph, Davis identifies six anti fashion movements, which he proceeds to discuss individually in the remainder of the body of the essay. The first anti fashion movement Davis calls “utilitarian outrage.” This perspective criticizes fashion on a moral basis for its “wastefulness, frivolity, impracticality, and vanity.” Davis contends that the viewpoint can be traced far back in history, citing the bible as an earl