Postcards from Milan


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Postcards from Milan


Simona Iulini writes to Fashion Worlds from Italy about the fashion scene in Milan, the city in which she lives. She gives first-hand accounts of its shops, outlets, trends and exhibitions. Simona's experiences in public relations for Armani and Romeo Gigli, together with her organisation of fashion tours for her own personal shopper's agency, place her in an ideal position to gather the most interesting details about life in the city.





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Visit Simona Iulini's website, The Art of Shopping for further information about her personal shopper's agency in Milan.

Do real men wear sandals?


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Do real men wear sandals?


Reprinted at Fashion Worlds June 2004 with permission of the Staten Island Advance


By Jessica Jones


It's hot. Really hot. And both men and women are bearing it all in an attempt to keep cool. For the ladies, it's natural: Cute tank tops, shorts and flip-flops are a summertime staple. But for men, showing a little extra skin can be an issue. Especially where feet are concerned.


"The more skin one shows, the less power the person has," explained Beryl Wing, an author and image consultant with a practice in Great Kills. "Men know that the less clothes you wear, the less power you have. And I know sandals sound like a small part of the body to be uncovered, but it makes them feel vulnerable. Not a happy state for most men."


Despite this philosophy, sandals have always been a warm-weather option for men. There's been open-toe designs for the athlete, the bohemian and the business-minded man. But a recent trend in fashion has produced a whole new range of stylish flip-flops and sandals, making the flat-soled, open-toed shoe a dominant force in the market. Still, experts, say, men's opinions about the shoes have not changed.


Ms. Wing quoted Ruth P. Rubinstein, an F.I.T. professor of sociology, who points out in her book, "Dress Codes," that lack of clothing in ancient art symbolizes defeat and victimhood. Men, intensely attuned to power, she said, know that that aura of the undressed victim has survived into our own age.


"Men don't ever want to be laughed at," Ms. Wing continued. "It is their worst fear. Wearing sandals -- shoes with very limited guaranteed appropriateness (the beach really is the only place you're sure they belong) -- opens one up to ridicule. Men will avoid this at all costs. Being laughed at, again, means you've lost your power."


Plus, sandals have the hint of the artist in them, Ms. Wing said. While women love the artistic and being "different," men tend to follow the leader and shun the creative.


"Being artistic has many less-than-manly connotations, even in our age when many men are more progressive," the image consultant explained. "This may not be a top-of-mind reason for many men (and many of the more liberal ones might not even admit to it), but it's there. Again, you open yourself up to ridicule or worse. Another power issue."



PRACTICAL?


Practicality is also another concern. Men like to wear what's functional and a pair of shoes that only pops out of the closet on weekends during the summer months is not usually a smart buy.


"They don't want 1,000 pairs of shoes like Imelda Marcos, or even a closetful, like the women in their lives," Ms. Wing said. "They want a few pairs of versatile, functional footwear that can do multiple duty. Why invest in a pair of sandals that are only foolproof at the beach or the pool when you can spend the money on an extra pair of sneakers that you can wear multiple places?"


Ms. Wing recommends that men buy sandals only if they're totally comfortable with it.


"For a man who really wants to, I say go for it," she said. "This man is possibly a superb dresser, maybe a bit artistic or a bit of a rebel. He probably knows to buy the finest quality he can afford., to match the styling to his personality (be it elegant, rugged, functional, artsy or whatever) and to wear them only in venues that are appropriate. But it's definitely not a look for everyone. Nor should it be. It's a risk."


Jessica Jones is the fashion editor for the Staten Island Advance.

The Cycle of Fashion


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The Cycle of Fashion


Fashion is fuelled by conversion. Designers continually persuade the public that their new ideas, however shocking they may seem, are in fact everything that a stylish wardrobe requires. Next season, the same designers convince everyone to give up their allegiance to such out-modish designs and embrace instead the innovative visual trends of the latest collections. The same garments are successively dubbed ‘outlandish’, ‘in fashion’ and ‘out-dated’ according to the apparent vagaries of prevailing fashionable sensibilities. Are we really duped by such duplicity? Or are we willing participants in the cycle of fashion? And perhaps more significantly, what relevance does the cycle have today in Western society’s culture of mass consumerism?


The idea that fashion in dress follows a cyclical phase structure is not new. The sociologist, Quentin Bell made such an observation over fifty years ago in his book, On Human Finery. Moreover, his observation was based on accumulated evidence of an uninterrupted cyclical flow in dress change in Western society since at least the thirteenth century.


The sociologist, Ingrid Brenninkmeyer describes this flow by comparing it to the rolling of waves in the sea. As one fashion gains popularity, crests and dissipates, another stylistic wave is already forming behind it. Further extensions of this metaphor liken different stylistic features to variations in the waves themselves. For example, just as different wave patterns form on the basis of their force, size or length, so also different overlapping patterns can be traced in changes of fashionable hem length, silhouette, fabric, décolletage and colour.


Mere descriptions of the fashion cycle however do little to explain exactly why successful designers’ ideas typically rise and fall in popularity. What is the motivating force behind such changes in fashion? What causes the cycle to move from one phase to the next? These questions cannot be answered simply. Perhaps sheer boredom inspires the continual search for something new. Or can novelty be related to ideas of sexual allure and attraction? Do competing market interests in the fashion industry play a role in animating the cycle? Or could changes in dress function as markers of class differentiation?


These factors and more have been variously proposed and analysed by researchers into the sociology of fashion. Bernard Barber (1957) depicted a ‘trickle-down’ theory of fashion as a symbol of social class whilst Gabriel Tarde (1903) outlined a theory of imitation. René Konig (1973) emphasised the displacement of sexual urge and Herbert Blumer (1969) formulated a theory of collective selection. However, each of these theories ultimately fails to provide a definitive account of the processes shaping the many vicissitudes and disparate progressions of contemporary fashion innovation.


Long waves in which a single style dominates for a season and is replaced in the next are no longer the norm. There are no modern equivalents of the crinoline, the bustle, the flapper dress, Dior’s New Look or the three-piece single-breasted man’s suit. The journalist Holly Brubach captures the current pace and diversity of the fashion cycle in an article written for the New Yorker on December 31st, 1990: “Fashion as it’s presented on the runways is nowhere near as unanimous as it used to be, but coverage of it in the press still focuses on hemlines and colours and items – on what the collections have in common … The truth is that these days you can find practically anything in somebody’s collection somewhere.”


The apparently random, rapid overlapping of new fashions is not restricted to changes in dress, but can also be noted in areas of modern culture as diverse as painting, music, architecture, entertainment and systems of health care. In Western society’s media-based culture of mass consumerism and against a background of globalisation, fashion appears to serve reactionary purposes that both structure and affirm the identities of groups and individuals. From surfers and students to alienated middle-class youths and married working women, weekly changes in fadlike styles give a sense of belonging whilst also distinguishing them from the masses.


Changes in the fashion cycle since the end of World War II therefore indicate an interweaving of complex and multiple processes. A uniform acceptance of single fashionable styles across the class structures of society has been replaced by a rapidly- changing, many-faced, identity-defining drive. It remains to be seen whether these phenomena signal the eventual disintegration of fashion’s long-enduring cycle.


In troubling times, pink is hot hue again


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In troubling times, pink is hot hue again


Reprinted at Fashion Worlds June 2004 with permission The Mercury News, San Jose


By Joyce Gemperlein


I'm a ``True Honey-Toned Spring,'' as decreed by a woman named
Ruth who, in 1987 for $35, eyeballed my hair, eyes and complexion
and handed me a two-inch-thick fan of fabric swatches marked
``personal color palette.'' The deck of cards -- I have it still --
is heavy on aquas, blues, soft yellows, cool pinks and corals.


Which was really a happy coincidence, because at about that time,
the stock market tanked and, almost exactly two years earlier,
Palestinian terrorists had hijacked the Italian cruise ship Achille
Lauro.


Right now there's a similar situation: We're reeling over
revelations about the mistreatment of detainees in Abu Ghurayb
prison as violence intensifies in Iraq, and two years ago we were
still counting the dead from the Sept. 11 attacks. So, wouldn't you
know it: Pink is everywhere, even in business suits for women,
transforming the aisles of department stores from seas of gray to
gardens of color. Pinks are ruling the fashion industry, and orange
and apricot hues are creeping in beside them to color fall
fashions.


Do you see something of a pattern here? Horrible things occur,
and then, two years later, when we're glum over one grim situation
or another, lo and behold, we're dressing in Pepto-Bismol or
cotton-candy pinks and Cinderella blues as if we didn't have a care
in the world!


It's axiomatic that when the world is at its cruelest, fashion
turns to frills, innocence and caprice. But it's somewhat spooky to
find out that the industry believes that it knows at least two years
ahead of time that the world will be messy enough for us to want to
dress like Barbie.


Color prognosticators


To hear more about this contention, I telephoned Margaret Walch,
director of the Color Association of the United States, one of
several organizations that determine what colors will be in vogue.
She described a process for selecting color palettes for fashion and
other industries that is intriguing, sometimes contradictory, and
even a little creepy.


``Fashion and color are barometers of the times; therefore they
are always reflective of what is going on in the world,'' explained
Walch, who said she was wearing a tawny yellow suit over a vintage
Mickey Mouse T-shirt as she chatted from her New York City office.
You'd think, then, that the color seers would put us in blacks,
grays and browns -- time-honored colors of mourning and depression
in Western tradition -- but that's not the case, Walch said.


``What is going on right now in color is pretty logical. We have
a real wish for soft, comforting colors in stressful times to make
ourselves feel better. Between the weather, the economy and the war,
people are freaked out. We have no answers, and problems are being
generated constantly. We want color that flies in the face of
reality,'' added Walch.


You hardly need a newspaper to know, then, that the world's in
bad shape. Just look around: Clothes, hair bands, breast-cancer
ribbons and even shoes are pink and other rosy shades. The latest
issue of the J. Jill women's clothing catalog contains approximately
55 pink items in its 100 pages. Even men are increasingly wearing
shirts and ties ranging from fuchsia to pale pink, according to a
recent Wall Street Journal article. Actress Jennifer Lopez caused a
run on pastel diamonds when she held her pink rock (from former
fiance Ben Affleck) up to a TV camera.


There's even a pink KitchenAid mixer and a coffee mill (part of
the company's participation in a breast-cancer fundraising
effort).


Paradigm shift


What has the world come to? Time was when women wore shoulder
pads and feminized traditionally male business suits to show that
they were as solid and dependable as men, that they faced the world
head-on. Pink was as much a no-no in the office as was crying at
your desk -- even if you did so in pure anger. And those flouncy
skirts that are all the rage now? Women wouldn't have been caught
dead in those in the 1980s.


Now women are being told -- what? That they are confident enough
to wear whatever color and ruffles that they like? Or is it that
they've given up the fight to be looked upon as equals?


Meredith Wood of Knoxville, Tenn., past president of the Color
Marketing Group, another color prognosticator, described 2004's
shades as ``spa'' colors that promote peace and tranquillity.
They're girly, childlike tints that foster people's need to ``be
pretty and innocent, to go back to a time when we felt safer and
more secure,'' she said, adding that ``we are in such a fragile
state right now!''


Back in 2002, the color analysts seemed to know that we'd still
be a mess around about now. President Bush was warning about the
``axis of evil'' and a drawn-out war against terror. So they
predicted the current, diverting palette of cheery pinks, oranges
and marine colors. It was in all the best fashion magazines, but can
you believe that world leaders clearly ignored this early warning of
events to come? They did nothing to improve things so that, at the
very least, you and I would not be scrambling to buy a pink Gap
jacket on eBay because it sold out so quickly in stores.


Sure, Walch and Wood concede that some other factors figure into
what colors we wear. For example, we don't always have control over
our color options.


Other trend factors


Before the world wars, the fashion industry didn't stray beyond
Paris. During World War I, our supply of dyes was cut off, resulting
in a drab fashion scene. In addition, fabric, hosiery and buttons
were regulated, which led to utilitarian clothing.


The ``red carpet'' effect of movie stars' frocks on Oscar night
can't be discounted. (Consider Gwyneth Paltrow's pink gown in 1999.)
And there's no disputing that color palettes cycle in and out and
that decades can be lumped into categories.


You can think of the 21st century so far as being dominated by a
spectrum of rich-but-muted colors -- for example a range of oranges,
pinks and greens -- rather than merely one color; the 1990s as being
a decade of khaki clothing until shots of color appeared as the
economy heated up; the 1980s largely as the black, confident
computer decade; the 1970s as the earth-tone era bespeaking an
environmental focus; and the 1960s as a brightly colored,
flower-child era. (And also one that wanted to divert emotions away
from the bloody Vietnam War.)


But ``to be honest, the way the colors are chosen is intuitive,
it is as if they are pulling things from the air,'' Walch explained
about those who analyze colors. A good forecaster uses world events,
psychology, sociology and other factors to set a palette.


``It can get kind of eerie, in that oftentimes a forecast
anticipates an event,'' said Walch. Here is her example: The
forecast produced by her group for spring 2003 had a
red-white-and-blue cover and, inside, were similar colors and a
nautical and patriotic theme. It was published in May 2001, only
four months before the Sept. 11 terrorist attacks and the subsequent
Afghan and Iraqi wars.


``It anticipated very strong events,'' said Walch, who has been
in the color industry almost 30 years. ``It was one of the most
bizarre things I've ever seen.''


Jean Dilworth, a professor at Eastern Illinois University who
lectures on the sociology of clothing, noted that Sept. 11 had a
great impact on fashion's use of red, white and blue. ``We haven't
seen this much of it in clothing since World War II.''


Interestingly, pink had a great impact in the 1950s, right after
that red, white and blue period in the 1940s.


Color analysts are just now coming out with their predictions for
2006. The good news is that colors are clear ones, rather than muddy
or murky, and becoming a bit more vivid. Historically, they say this
has tended to mean that the economy is recovering.


But the bad news is that it appears that we will be dressing in
``fairy-like'' or ``escapist'' colors even more as we approach 2006,
said Walch.


Self-fulfilling prophecy?


But wait just a minute.


Isn't the fact that color analysts set the palette two years
ahead of time and manufacturers churn out all manner of like-colored
goods a somewhat self-fulfilling prophecy? Consumers can only buy
what is offered.


``Absolutely not,'' said Wood.Consumers will walk away from the
colors if they don't feel they are right for the times, she
insisted.


Oh, please, chided Dilworth. Of course there's an inevitability
that consumers will buy what is there -- and not buy what is not.
``I think we mostly buy clothes that we like in colors that we
haven't seen for a while,'' Dilworth said. She noted she was in her
university office wearing a new, lively striped cowboy-style shirt
the likes of which she hadn't seen since the 1970s. Some of the
stripes are pink, but she didn't buy it ``because I'm depressed
about Iraq. I just like how it goes with my khakis.''


``Besides, she added, `I don't look that good in pink.''


And let's remember a recent miscalculation: Clothing makers were
poised to roll out ``Middle East chic'' just at the time of the fall
2001 terrorist attacks. The plans were shelved.


Still, if Walch is even partly right about the fortunetelling
capability of her cohorts, I can only think that this means the
world is going to feel like one of those unrelentingly depressing
episodes from the television show ``24,'' in which one bad thing
happens, then a worse bad thing occurs, and then an even more
extremely bad thing takes place. I'm not sure I want to be here for
that, even if I am wearing a lovely shade of rose.


And although the color industry's sense of its importance may be
a bit out of joint, shouldn't the Department of Homeland Security,
Alan Greenspan, and the Pentagon, for planning purposes, be
subscribing to Women's Wear Daily? Just in case?

More articles index


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Fashion Worlds: More Articles



Fashion and the 'Cult of Celebrity': Why are we so fascinated by celebrities and their lifestyles? This article suggests how the 'Cult of Celebrity' is implicated in aspects of fashion in contemporary culture.


The Forces of Beauty and Desire in Fashion Imitation: Rene Girard's theory of mimetic desire offers some useful insights into the psychological power of beauty in fashion culture.


Fashion Statements: How do clothes 'talk' to their wearers and viewers? This article investigates the psychology of the fashion language.


Cell Phone Fashion: Personalizing Mass Production by Emily Sims: The rise of the fashion phone is inextricably linked with the consumer's desire to differentiate themselves from other consumers. Once a high-tech tool, the mobile phone is now a designer accessory. This article considers the implications.


Symbols of Radical Change by Kamau Mutunga: The current trend on the local fashion scene is a T-shirt bearing the portrait of Cuban revolutionary leader Ernesto "Che" Guevara. But although his familiar beard and beret are entering our fashion scene 38 years after his death in Bolivia, Guevara has long been a fashion statement and cultural icon in Latin American countries. This article considers how the trademark dressing of past heroes and legends such as Che Guevara, Mao Zedong and Nelson Mandela has dictated fashion trends.


In troubling times, pink is hot hue again by Joyce Gemperlein: It's axiomatic that when the world is at its cruelest, fashion turns to frills, innocence and caprice. But it's somewhat spooky to find out that the industry believes that it knows at least two years ahead of time that the world will be messy enough for us to want to dress like Barbie. This article considers the relations between colour in fashion and the prevailing sociological contexts.


Beneath Historic Fashions by Scott Simon: Some scholars wonder about the place of knickers, bustles and thongs in history, but underwear can tell us much about how people's habits and behaviors change over time.


Do real men wear sandals? by Jessica Jones: Designer flip-flops and open-toed shoes for men are hot this summer -- but research shows most males have a hard time revealing their toes in public.

Temperley, Alice


Home > Temperley, Alice

Alice Temperley


Alice Temperley was born in England in 1975. Following her studies at the Central Saint Martin’s College of Art in London, she gained a Master’s degree at the Royal College of Art where she specialised in fabric technology and print. As a student, she designed one-off evening dresses for the boutiques of Fred Segal and Giorgio in Los Angeles. She was headhunted during her final year by Ratti, one of the leading Italian fabric companies. Turning down positions in international design in order to start her own label with her husband, Temperley pursued further research into the best silk mills and beading factories in Asia. This characteristic discipline and attention to detail is evident in the exquisite embroidery and traditional beading techniques of her handmade garments. Celebrity clients include Courtney Cox, Emma Thompson, Elizabeth Hurley and Claudia Schiffer. Actresses Sarah Jessica Parker and Kristen Davis wear designs by Temperley in the final episodes of ‘Sex in the City’.


Designed from her studio and showroom in London’s Notting Hill, Temperley’s Autumn/Winter 2004-5 collection is inspired by the gangsters of the early 1900s’ Parisian cabaret scene, the apache. It includes signature silk, empire-lined dresses in vintage prints of plum, navy, apricot and black, and strapless Fifties’ dresses in stripes of chiffon and silk. Glittering beading, pearl detailing, corseted buttons, pale pink piping and prints are featured throughout the collection.


Awards

Central Saint Martin’s College of Art: Award for Innovation

1999 English Print Designer of the Year at Indigo, Paris


Antwerp 6


Home > Fashion and the 'Antwerp Six'

Fashion and the ‘Antwerp Six’


An established part of the international fashion scene, Antwerp’s reputation today is closely tied to the impact of the so-called ‘Antwerp Six’. This group of talented designers, graduates of the Antwerp Academy from the years 1980 and 1981, brought the world’s attention to the inventive styles and impeccable craftsmanship of Belgium’s fashion industry. Trained by designer Linda Loppa, the original ‘Six’ are Dries Van Noten, Dirk Bikkembergs, Dirk Van Saene, Ann Demeulemeester, Walter Van Beirendonck and Marina Yee (replacing the almost reclusive Martin Margiela after his brief association with the group). Together, they staged fashion shows and events throughout the mid-80s. Their attempts to capture the attention of the international press and buyers famously included their unprecedented success at the 1988 London Fashion Week. It was this surprising event that placed Antwerp firmly on the map of the international fashion scene.


Despite their shared background in the fashion department of Antwerp’s Royal Academy, the styles of the six designers are distinctly varied. Whilst Van Noten’s scarves of exotic fabrics, beaded saris and dyed skirts are inspired by the traditional practices of countries such as India, Morocco and Egypt, Van Beirendonck’s bold graphics and daring designs are rooted in a futuristic concept of fashion that is both theatrical and challenging.


It is notable that the ‘Antwerp Six’ have largely chosen to remain in their hometown. Together with the next wave of innovative designers from the city’s Royal Academy, their work is located in Antwerp’s south and city centre rather than in the fashion scenes of Paris and New York. Anne Demeulemeester’s first freestanding boutique is found on the corner of Leopold de Waelplats, opposite the Museum of Fine Arts. It is a stark white shopping space in which mannequins are suspended from the ceiling on steel cables. Linking the city centre and the south, the Nationalestraat houses the his-and-her collections of Dries Van Noten, the designs of Dirk Van Saene, Bernhard Willhelm and Kostas Murkudis, and the avant-garde fashion of Mici de Merode. The up-and-coming designers Stephan Scneider and Anna Heylen are also within walking distance, at Reyndersstraat 53 and Lombardenvest 44 respectively.


The striking reputation of the ‘Antwerp Six’ is pivotal to the attention received each year by the graduation show of the fashion department of the Royal Academy. Held each year in June, the city welcomes a flock of international reporters, magazine editors and photographers expecting to find promising new talent. For many in the fashion world, Antwerp has become a strong rival to Brussels as Belgium’s capital city.